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+Project Gutenberg's How to Produce Amateur Plays, by Barrett H. Clark
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to Produce Amateur Plays
+       A Practical Manual
+
+Author: Barrett H. Clark
+
+Release Date: June 11, 2012 [EBook #39973]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO PRODUCE AMATEUR PLAYS ***
+
+
+
+
+Produced by David Starner, Ernest Schaal, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+                      HOW TO PRODUCE AMATEUR PLAYS
+
+
+
+
+        [Illustration: SETTING FOR A POETIC DRAMA. BY SAM HUME.
+         (Courtesy of the artist).]
+
+
+
+
+                             HOW TO PRODUCE
+                             AMATEUR PLAYS
+
+                          _A Practical Manual_
+
+                                   BY
+
+                            BARRETT H. CLARK
+
+                        NEW AND REVISED EDITION
+
+
+                             [Illustration]
+
+
+                                 BOSTON
+                       LITTLE, BROWN, AND COMPANY
+                                  1923
+
+
+
+
+                        _Copyright, 1917, 1922_,
+
+                     BY LITTLE, BROWN, AND COMPANY.
+
+                         _All rights reserved_
+
+                PRINTED IN THE UNITED STATES OF AMERICA
+
+
+
+
+                     PREFACE TO THE REVISED EDITION
+
+
+This book aims to supply the demand for a simple guide to the production
+of plays by amateurs. During the past decade a number of books dealing
+with the subject have been published, but these are concerned either
+with theoretical and educational, or else with limited and, from the
+practical viewpoint, unessential aspects of the question. In the present
+manual the author has attempted an altogether practical work, which may
+be used by those who have little or no knowledge of producing plays.
+
+The book is not altogether limited in its appeal merely to producers;
+actors themselves and others having to do with amateur producing will
+find it helpful. The author has added a number of suggestions on a
+matter which is rapidly becoming of prime importance: the construction
+of stages and setting, and the manipulation of lighting.
+
+It is always well to bear in mind that no art can be taught by means of
+books. The chief purpose of this volume is to lay down the elements and
+outline the technique of amateur producing.
+
+A careful study of it will enable the amateur stage manager to do much
+for himself which has heretofore been either impossible or attended with
+dire difficulty.
+
+The plan of the book is simple: each question and problem is treated in
+its natural order, from the moment an organization decides to "give a
+play", until the curtain drops on the last performance of it.
+
+This new edition of "How to Produce Amateur Plays" has been revised
+throughout, and the list of plays in Chapter X completely re-written and
+brought up to date.
+
+The author acknowledges his indebtedness for suggestions and help, as
+well as for permission to reproduce diagrams, photographs, and passages
+from plays, to Mr. T. R. Edwards, Mr. Hiram Kelly Moderwell, Mr. L. R.
+Lewis, Mr. Clayton Hamilton, Miss Grace Griswold, Miss Edith Wynne
+Matthison, Mr. Maurice Browne, Miss Ida Treat, Mr. Sam Hume, John Lane
+Company, Samuel French, Brentano's, and Henry Holt and Company.
+
+                                                         MARCH, 1922
+
+
+
+
+                                CONTENTS
+
+
+        CHAPTER                                             PAGE
+
+        PREFACE                                                v
+
+      I CHOOSING THE PLAY                                      1
+
+     II ORGANIZATION                                           8
+
+    III CHOOSING THE CAST                                     18
+
+     IV REHEARSING I                                          22
+
+      V REHEARSING II                                         48
+
+     VI REHEARSING III                                        73
+
+     VII THE STAGE                                            76
+
+    VIII LIGHTING                                             86
+
+      IX SCENERY AND COSTUMES                                 91
+
+       X SELECTIVE LISTS OF AMATEUR PLAYS                    110
+
+
+        APPENDICES
+
+      I COPYRIGHT AND ROYALTY                                127
+
+     II A NOTE ON MAKE-UP                                    130
+
+      INDEX                                                  139
+
+
+
+
+                         LIST OF ILLUSTRATIONS
+
+
+    SETTING FOR A POETIC DRAMA, BY SAM HUME       _Frontispiece_
+
+                                                            PAGE
+
+    "THE GROTESQUES", BY CLOYD HEAD. PRODUCED
+        AT THE LITTLE THEATER, CHICAGO                         8
+
+    "THE TROJAN WOMEN" OF EURIPIDES. PRODUCED
+        AT THE LITTLE THEATER, CHICAGO                        18
+
+    "CAPTAIN BRASSBOUND'S CONVERSION", BY SHAW.
+        SET OF ACT I, AS PRODUCED BY THE NEIGHBORHOOD
+        PLAYHOUSE, NEW YORK                                   22
+
+    SET FOR MUSSET'S "WHIMS." PRODUCED BY THE
+        WASHINGTON SQUARE PLAYERS                             48
+
+    "SISTER BEATRICE" OF MAETERLINCK. PRODUCED
+        AT THE WESTERN RESERVE COLLEGE FOR
+        WOMEN                                                 74
+
+    TWO VIEWS OF THE STAGE AT TUFTS COLLEGE,
+        SHOWING PLENTY OF OPEN SPACE FOR THE
+        STORING AND SHIFTING OF SCENERY                       76
+
+    AN ORDINARY BOX-SET. FROM DUMAS _FILS'_ "THE
+        MONEY QUESTION." PRODUCED AT TUFTS
+        COLLEGE                                               80
+
+    SCENES FROM EURIPIDES' "ELECTRA." PRODUCED
+        AT ILLINOIS STATE COLLEGE                             90
+
+    TWO VIEWS OF THE STAGE AT THE UNIVERSITY OF
+        NORTH DAKOTA                                         106
+
+
+
+
+                         HOW TO PRODUCE AMATEUR
+                                 PLAYS
+
+
+                               CHAPTER I
+
+                           CHOOSING THE PLAY
+
+
+The first important question arising after the decision to give a play,
+is "What play?" Only too often is this question answered in a haphazard
+way. Of recent years a large number of guides to selecting plays have
+made their appearance, most of which are incomplete and otherwise
+unsatisfactory. The large lists issued by play publishers are
+bewildering. Toward the end of the present volume is a selective list of
+plays, all of which are, in one way or another, "worth while"; but as
+conditions differ so widely, it is practically impossible to do
+otherwise than merely indicate in a general way what sort of play is
+suggested.
+
+Each play considered by any organization should be read by the director
+or even the whole club or cast, after the requisite conditions have been
+considered. These conditions usually are:
+
+1. =Size of the Cast.= This is obviously a simple matter: a cast of ten
+cannot play Shakespeare.
+
+2. =Ability of the Cast.= This is a little more difficult. While it is a
+laudable ambition to produce Ibsen, let us say, no high-school students
+are sufficiently mature or skilled to produce "A Doll's House." As a
+rule, the well-known classics--Shakespeare, Molière, Goldoni, Sheridan,
+Goldsmith--suffer much less from inadequate acting and production than
+do modern dramatists. The opinion of an expert, or at least of some one
+who has had experience in coaching amateur plays, should be sought and
+acted upon. If, for example, "As You Like It" is under consideration, it
+must be borne in mind that the rôle of Rosalind requires delicate and
+subtle acting, and if no suitable woman can be found for that part, a
+simpler play, like "The Comedy of Errors", had much better be
+substituted. Modern plays are on the whole more difficult: the portrayal
+of a modern character calls for greater variety, maturity, and skill
+than the average amateur possesses. The characters in Molière's "Le
+Bourgeois Gentilhomme" ("The Merchant Gentleman"), Shakespeare's "The
+Comedy of Errors", Sheridan's "The Rivals", are more or less well-known
+types, and acting of a conventional and imitative kind is better suited
+to them. On the other hand, only the best-trained amateurs are able to
+impart the needful appearance of life and actuality to a play like Henry
+Arthur Jones's "The Liars." Still, there are many modern plays--among
+them, Shaw's "You Never Can Tell" and Wilde's "The Importance of Being
+Earnest"--in which no great subtlety of characterization is called for.
+These can be produced as easily by amateurs as can Shakespeare and
+Sheridan.
+
+3. =The Kind of Play= to be presented usually raises many questions
+which are entirely without the scope of purely dramatic considerations.
+In this country especially, there is a studied avoidance among schools
+and often among colleges and universities, of so-called "unpleasant
+plays." Without entering into the reasons for this aversion, it is
+rather fortunate, because as a general rule, "thesis", "sex", and
+"problem" plays are full of pitfalls for amateur actors and producers.
+
+While it is a splendid thing to believe no play too good for amateurs,
+some moderation is necessary where a play under consideration is
+obviously beyond the ability of a cast: "Hamlet" ought never to be
+attempted by amateurs, nor such subtle and otherwise difficult plays as
+"Man and Superman." Plays of the highest merit can be found which are
+not so taxing as these. There is no reason why Sophocles' "Electra",
+Euripides' "Alcestis", or the comedies of Lope de Vega, Goldoni,
+Molière, Kotzebue, Lessing, not to mention the better-known English
+classics, should not be performed by amateurs.
+
+It goes without saying that the facile, trashy, "popular" comedies of
+the past two or three generations are to be avoided by amateurs who take
+their work seriously. This does not mean that all farces and comedies
+should be left out of the repertory: "The Magistrate" and "The
+Importance of Being Earnest" are among the finest farces in the
+language. The point to be impressed is that it is better to attempt a
+play which may be more difficult to perform than "Charley's Aunt", than
+to give a good performance of that oft-acted and decidedly hackneyed
+piece. It is much more meritorious to produce a good play poorly, if
+need be, than a poor play well.
+
+If, after having consulted the list in this volume and similar other
+lists, the club is still unable to decide on a suitable modern play, the
+best course is to return to the classics. It is likely that the plays
+that have pleased audiences for centuries will please us. Aristophanes'
+"The Clouds" and "Lysistrata", with a few necessary "cuts"; Plautus'
+"The Twins" and Terence's "Phormio"; Goldoni's "The Fan"; Shakespeare's
+"Comedy of Errors" and half a dozen other comedies; Molière's "Merchant
+Gentleman" and "Doctor in Spite of Himself"; Sheridan's "The Rivals" and
+Goldsmith's "She Stoops to Conquer"; Lessing's "Minna von
+Barnhelm"--almost any one of these is "safe." A classic can never be
+seen too often and, since true amateurs are those who play for the joy
+of playing, they will receive ample recompense for their efforts in the
+thought that they have at least added their mite to the sum total of
+true enjoyment in the theater. Another argument in favor of the
+performance of the classics is that they are rarely produced by
+professionals. If an amateur club revives a classic, especially one
+which is not often seen nowadays, it may well be proud of its efforts.
+
+If, however, the club insists on giving a modern play, it will have
+little difficulty in finding suitable material. It is well not to
+challenge comparison with professional productions by choosing plays
+which have had professional runs of late; try rather to select (1) good
+modern plays which by reason of their subject matter, form, etc., cannot
+under present conditions be commercially successful (like Granville
+Barker's "The Marrying of Ann Leete"); (2) translations of contemporary
+foreign plays which are not well known either to American readers or
+producers; and, finally (3) original plays. Here it is difficult to
+advise. It cannot be hoped that an amateur club will discover many
+masterpieces among original plays submitted to it, but if any of the
+works considered has even a touch of originality, some good
+characterization, any marked technical skill; in a word, if there is
+something interesting or promising, then it is worth producing.
+Doubtless many beginners are discouraged from writing plays for lack of
+experience gained by seeing their work staged; for such, the amateur
+club is the only resource.
+
+Besides these particular considerations, there remain the minor but
+necessary points relating to rights and royalties. A full statement of
+the legal aspect of the case is to be found in the first appendix in
+this book.
+
+
+
+
+[Illustration: "THE GROTESQUES", BY CLOYD HEAD. PRODUCED AT THE LITTLE
+THEATER, CHICAGO
+
+A shallow cyclorama. The simple design forms an effective background for
+the grouping of the figures.
+
+(Courtesy of Maurice Browne).]
+
+
+
+
+                               CHAPTER II
+
+                              ORGANIZATION
+
+
+A great many more factors go into the making of a successful dramatic
+production than may at first be apparent. To organize a staff whose duty
+it is to furnish and equip a theater, hall, or schoolroom; to arrange
+and efficiently run rehearsals; to supply "props", costumes, and
+furniture; to manage the stage during the performance--all this is next
+in importance to the acting itself.
+
+Of late years especially it has been made clear that the art of the
+theater, although it is a collaboration of the brains and hands of many
+persons, must be under the supervision of one dominating and far-seeing
+chief. That is to say, one person and one alone must be responsible for
+the entire production. Except in rare instances this head cannot know of
+and attend to each detail himself, but it is his business to see that
+the whole organization is formed and managed according to his wishes.
+The function of this ideal manager has been compared with that of the
+orchestral conductor: it is he who leads, and he should be the first to
+detect the slightest discord. While the foregoing remarks are more
+strictly applicable to acting and staging, it will readily be seen that
+if the same leader is not in touch with the more practical side of the
+production, there is likely to arise that working at cross-purposes
+which has ruined many an amateur as well as professional production.
+While a great deal of the actual work must be done by subordinates, it
+should be clearly understood that the director has the final word of
+authority.
+
+Much in the matter of organization depends upon the number and ability
+and experience of those persons who are available, but the suggestions
+about to be made as to the organization of a staff are based upon the
+assumption that the director is a capable person, and his assistants at
+least willing to learn from him. As a rule, he will have plenty of
+material to work with.
+
+=The Director.= The producer, the head under whose guidance the entire
+work of rehearsing and organization should lie, is called the director.
+However, since this position is often held by a hired coach or by some
+one else who cannot be expected to attend to much outside the actual
+rehearsing, there must be elected or appointed an officer who is
+directly responsible. This officer is:
+
+=The Stage Manager.= As the director cannot always be present at every
+rehearsal, and as oftentimes two parts of the play are rehearsed
+simultaneously, it is evident that another director must be ready to
+act in place of the head. It is chiefly his duty to "hold" the
+prompt-book and keep a careful record of all stage business, "cuts",
+etc. At every rehearsal he must be ready to prompt, either lines or
+"business"--action, gestures, crosses, entrances, exits, and the
+like--and call the attention of the director to omissions or mistakes of
+every sort. In the event of the director's absence, he becomes the pro
+tem. director himself.
+
+It is advisable--though not always possible--to delegate the duties of
+property man, lightman, curtain man, costume man (or wardrobe mistress)
+to different persons; but even when this is done, it is better for the
+stage manager to keep a record of all "property plots", "light plots",
+"furniture plots", etc.
+
+It is also the stage manager's business to arrange the time and place of
+rehearsals, and hold each actor responsible for attendance.
+
+On the occasion of the dress rehearsal and of the actual production, it
+is the stage manager, and not the director, who supervises everything.
+His position is that of commander-in-chief. He either holds the book, or
+is at least close by the person who actually follows the lines; sees
+that each actor is ready for his entrance; that the curtain rises and
+falls when it should; that his assistants are each in their respective
+places; and that the entire performance "goes" as it is intended to go.
+
+=The Business Manager.= This person attends to such matters as renting
+the theater--or arranging some place for the performance--printing and
+distributing tickets; in short, everything connected with the receipt
+and expenditure of money. It is not of course imperative that he should
+have much to do with the director; the only point to be borne in mind
+being that every one connected with the production of a play should be
+in touch with those in authority. The business manager ought to have at
+least a preliminary conference with the director, and report to him
+every week until a few days before the performance, when he should be
+within instant call in case of emergency. The property, light,
+furniture, and costume people must naturally keep in close touch with
+him, although no purchases should be made without the permission of the
+director, who in this case must be at one with the club or organization.
+
+=The Property Man.= The duties attaching to this position are definitely
+and necessarily limited, but of great importance. Working under the
+stage manager, he supplies all the objects--such as revolvers, swords,
+letters, etc.--in a word, everything actually _used_ by the actors, and
+not falling under the categories of "scenery", "costumes", and
+"furniture."
+
+It will be found necessary in some cases to add to the staff one person
+whose business it is to attend to the matter of furnishings: rugs,
+hangings, pictures, furniture, and so forth; but in case there is no
+such person, the property man attends to these details himself.
+
+It cannot be too strongly urged that from the very first as many
+"props", as much furniture or as many set pieces as possible (depending
+on whether the set is an indoor or outdoor one), should be used by the
+actors. In this way they will be better able to associate their
+thoughts, words, and gestures with the material objects with which they
+will be surrounded on the fatal night. If this is impracticable, that
+is, if most of these objects cannot be secured from the first, then at
+least suitable substitutes should be used. The presence of such
+fundamentally important articles as the wall in Rostand's "The
+Romancers", and the dentist's chair in Shaw's "You Never Can Tell", when
+used from the first rehearsals, always minimizes the danger of confusion
+of lines or business at the last moment.
+
+The property man must keep a list of everything required; this should be
+a duplicate of that in the possession of the stage manager.
+
+=The Lightman.= Sometimes even nowadays called the "Gasman." He is not
+indispensable, because almost always the regular electrician attends to
+the switchboard. However, some one should be with the electrician at the
+dress rehearsal and on the evening of the performance to give him the
+necessary light cues. Usually, however, the stage manager who holds the
+prompt-book where all the light cues are indicated can fulfill this
+function.
+
+=The Costume Man= (or =Wardrobe Mistress=, as the case may be). Again
+the duties are simple. If the play is a classic--Shakespeare, for
+instance,--the costumes, in ninety-nine cases out of a hundred, had
+better be rented from a regular costumer. The costume man, then,
+together with the business manager, attends to the details of renting,
+and sees that all costumes are ready for the dress rehearsal. If the
+costumes are made to order, the matter is supervised by the costume man.
+But, as with everything else connected with the best amateur efforts,
+there should be some expert adviser, not so much one versed in history
+and archeology as an artist with an eye for color and style. The
+director in any event must be consulted, so that lights, scenery, and
+costumes may harmonize. Details as to costumes are to be found in many
+books, and need not here be discussed. In spite of a good deal that has
+been written to the contrary, historical accuracy is not of vast
+importance: so long as there are no glaring anachronisms, Shakespeare
+may be presented with actors wearing pre- or post-Elizabethan costumes,
+provided they are beautiful, and harmonize.
+
+Among the thousand and one minor details of producing, there are some
+which in large productions might be assigned to specially appointed
+individuals, but most of the duties to be briefly enumerated below may
+easily be given over to the stage manager, property man, or costume man,
+or even to the lightman.
+
+_Handling and Setting of Scenery and Furniture._ This is usually taken
+care of by the property man and his assistants, under the direction of
+the stage manager. As in every other branch of the work, all details
+must be planned beforehand, and recorded.
+
+_Music._ The music cues should be marked in the stage manager's
+prompt-book. Incidental music, whether it be on, behind, or off-stage in
+the orchestra pit, ought to be rehearsed at least two or three times. On
+the occasion of the performance, the stage manager gives directions from
+his prompt-book for all music cues.
+
+_Crowds or Large Groups._ The management and rehearsing of crowds or
+large groups is considered under "Rehearsing" (p. 58). Here it will
+suffice to state that it is well to have an assistant whose duty it is
+to see that the "supes" [supernumeraries] are conducted on and off the
+stage at the right time.
+
+Among the further details which must be looked after are the duties
+which are sometimes left to the stage manager: the ringing of bells,
+calling of actors at the regular performance, etc. A "call boy" may be
+delegated to do this.
+
+_Understudies._ Trouble is always likely to arise, especially among
+amateurs, because there is no effective method of holding the actors to
+strict account. Often, one or more of the cast finds, or thinks he
+finds, good reason for leaving it, and a new actor must sometimes be
+found and trained to fill the vacancy on perilously short notice.
+Sickness or indisposition invariably give rise to the same problem. If
+possible, an entire second cast should be trained, so that any member of
+it could at a moment's notice be called upon to play in the first cast.
+While this second company should be letter-perfect and know the
+"business" in every detail, it is not necessary that their acting be so
+finished and detailed as that of the others. Understudy rehearsals are
+under the direction of the stage manager, although the director should
+witness at least two or three.
+
+Since the performance depends almost wholly on the knowledge, sympathy,
+and taste of the director, the greatest care should be taken in choosing
+him. Needless to say, the ideal director does not exist; still, his
+attributes should be constantly borne in mind. If he lacks the artist's
+sense of color, rhythm, and proportion, then an art adviser must be
+called in to suggest color schemes as regards costumes, scenery,
+furniture, and lighting. Nowadays, great attention is being paid to
+these matters, and the subtle effect of background and detail is much
+greater than is commonly supposed. The play is of first importance--that
+must never be forgotten--but these other matters are too often
+neglected.
+
+Similarly with costumes, music, scenery, it is never amiss to consult
+authorities. But once more be it repeated, the whole production should
+bear the imprint of the director's personality, because only in this way
+can we hope for that essential unity of effect which is a basic
+principle of all art.
+
+Coöperation with, but, in the last analysis, subserviency to, the
+director, is the keynote of success.
+
+
+
+
+[Illustration: "THE TROJAN WOMEN", OF EURIPIDES. PRODUCED AT THE LITTLE
+THEATER, CHICAGO.
+
+Effective grouping against a simple background. (Courtesy of Maurice
+Browne).]
+
+
+
+
+                              CHAPTER III
+
+                           CHOOSING THE CAST
+
+
+Obviously, the choice of the cast should depend upon the ability of the
+actors, although in the case of an organization like a school or college
+dramatic club, this system is not always practicable or even advisable.
+Every member of such a club should be trained to work for a common end,
+and a system by which amateurs are made to understand the necessity of
+assuming first small and unimportant rôles and working up gradually to
+the greater and more important ones, makes for harmony and completeness
+of effect in performances. It should be one of the chief ends of amateur
+producing to get away from the curse of the professional stage: the star
+system. It has been stated here that the greatest emphasis must be laid
+on the play itself, and no actor, professional or amateur, should ever
+labor under the delusion that he is of greater or even as great
+importance as the play in which he strives to act his part. The average
+actor is inclined to judge a play's merit according to the sort of part
+it furnishes him; the amateur spirit has done much to do away with this
+attitude, and it is to be hoped that no coach will ever do otherwise
+than discourage it.
+
+Competition as a means of selecting a cast is in most cases the best
+method. The play once selected, the people from among whom the cast is
+to be formed are assembled. It is a good plan to have every one read the
+play first, and make a study of at least one scene of it. Then, either
+alone or in company with one, two, or three others, he reads--or recites
+from memory--the scene in question, either before the entire club or
+before a committee of judges. Each actor is judged on appearance, ease,
+voice, and insight into the character he is portraying. The judges,
+seconded possibly by the members of the club (whose votes should, by the
+way, be of only secondary importance), then select those whom they
+consider best fitted for the parts. In every case the director should
+give final sanction to the selection.
+
+In cases where members must at first assume only minor parts because of
+club rules, there may arise some difficulty: for example, a beginner may
+be better fitted to assume an important rôle than older club members.
+Such cases must of course be dealt with individually.
+
+In organizations which are not run on so democratic a basis, the
+director selects the cast himself. On the whole, this is much the best
+system, as the director is left a free field in which to work out his
+own problems in his own way. If it is at all possible, an amateur club
+ought to put everything, including the responsibility, into the hands of
+a competent director. In this respect, the despotism of the professional
+stage is most beneficial. Whether the coach be an outsider hired for the
+occasion, or a regular member of the club, in nine cases out of ten he
+will establish and maintain harmony, allow no real talent to languish,
+and be at least in a position to produce definite artistic results.
+Amateur management has spoiled much good material. A director with full
+authority can work more easily and efficiently if left to his own
+devices than if trammeled with rules and regulations.
+
+The theater, behind the scenes, is a despotic institution; it must be,
+but the greatest care must be taken in choosing the right despot. Should
+the coach be a professional manager or actor, or should he be an
+amateur? The question is a difficult one. There are, it goes without
+saying, many excellent directors who are or have been professionals; on
+the other hand, it cannot be denied that some of the best amateur work
+in this country has been done by directors whose experience on the
+professional stage has, to say the least, been limited. Some such
+training is beneficial, but to put a professional of many years'
+experience in charge of amateurs is likely to make of the amateurs a
+company of puppets imitating only some of the externals of
+professionaldom. The best director, therefore, seems to be a person who
+has some professional experience, but who has likewise dealt with
+amateurs; one who enters into the amateur spirit, and understands its
+difference from the professional world, and does not try to train his
+company to imitate stock actors or "stars."
+
+Understudies may be chosen in the same manner as the first cast.
+
+After the choosing of the casts, the next step is rehearsing. To this
+complicated process the next three chapters are devoted.
+
+
+
+
+[Illustration: "CAPTAIN BRASSBOUND'S CONVERSION", BY SHAW. SET OF ACT I,
+AS PRODUCED BY THE NEIGHBORHOOD PLAYHOUSE, NEW YORK.
+
+(Photo by White. Courtesy of Neighborhood Playhouse).]
+
+
+
+
+                               CHAPTER IV
+
+                               REHEARSING
+
+
+                                   I
+
+The first rehearsal should be "called" as soon as possible after the
+cast has been selected and a place chosen in which to work. If the play
+is to be performed in a regular theater, it is wise to block out the
+general action and have at least the first two or three rehearsals on
+the stage. It would be still better if all the rehearsals could be
+conducted there, but as this is seldom possible, the stage manager
+should take its dimensions and secure some room as near the size of the
+stage as he can find. A room too large or too small, or not the
+requisite shape, is more than likely to confuse the actors. As many of
+the essential "props" and articles of furniture as possible should be
+used from the very first, in order to accustom the actors to work under
+approximately the same conditions as on the occasion of the performance.
+
+If the play can be secured in printed form, each actor will have his
+copy, and a general reading to the cast by the director or stage manager
+be rendered unnecessary. However, a few remarks by him as to the nature
+and spirit of the play will not be amiss. It is not uncommon to hear of
+professionals who have never read or seen the entire play even after
+acting in it for many months. Unless each actor knows and feels what the
+play is about and enters into its spirit, there can be little chance for
+unity and harmony.
+
+"Cutting", or other alteration, is often necessary. The director should
+read his alterations and allow each actor to make his text conform with
+the prompt-copy.
+
+When the play is not obtainable in book form, each rôle is then copied
+from the manuscript, together with the "cues" and all the stage
+business. In this case, a general reading to the cast is imperative.
+
+The preliminaries disposed of, the play is _read_, each actor taking his
+part. This is merely to familiarize the actors with the play and show
+them briefly their relation to each other and the work as a whole. At
+this first rehearsal, there should be no attempt at acting; that is
+reserved for the next meeting.
+
+At the second rehearsal[1]--which should take place the day after the
+first--the director blocks out the action. If the play be a full-length
+one (approximately two hours) then one act of this general blocking out
+will be found to occupy all the time. If the play is in a single act,
+and provided it be not too long, then the entire play may be blocked
+ out.
+
+    [1] The system here followed must of necessity be arbitrary, but
+        the principle is easy to grasp. A great deal depends on the
+        ability of the actors and the time they can afford.
+
+What is "blocking out"? Let us take an easy example and block out the
+first few minutes' of Wilde's "The Importance of Being Earnest."[2] Here
+follows the text of the first two and a half pages:
+
+    [2] Editions published by French, Putnam, Luce, Nichols, and
+        Baker.
+
+    _Scene--Morning-room in Algernon's flat in Half Moon Street. The
+    room is luxuriously and artistically furnished. The sound of a
+    piano is heard in the adjoining room._
+
+    [LANE _is arranging afternoon tea on the table, and after the
+    music has ceased_, ALGERNON _enters_.]
+
+    ALGERNON. Did you hear what I was playing, Lane?
+
+    LANE. I didn't think it polite to listen, sir.
+
+    ALGERNON. I'm sorry for that, for your sake. I don't play
+    accurately--any one can play accurately--but I play with
+    wonderful expression. As far as the piano is concerned,
+    sentiment is my forte. I keep science for Life.
+
+    LANE. Yes, sir.
+
+    ALGERNON. And, speaking of the science of Life, have you got the
+    cucumber sandwiches cut for Lady Bracknell?
+
+    LANE. Yes, sir. [_He hands them on a salver._]
+
+    ALGERNON. [_Inspects them, takes two, and sits down on the
+    sofa._] Oh! ... by the way, Lane, I see from your book that on
+    Thursday night, when Lord Shoreman and Mr. Worthing were dining
+    with me, eight bottles of champagne are entered as having been
+    consumed.
+
+    LANE. Yes, sir, eight bottles and a pint.
+
+    ALGERNON. Why is it that at a bachelor's establishment the
+    servants invariably drink the champagne? I ask merely for
+    information.
+
+    LANE. I attribute it to the superior quality of the wine, sir. I
+    have often observed that in married households the champagne is
+    rarely of a first-rate brand.
+
+    ALGERNON. Good Heavens! Is marriage so demoralizing as that?
+
+    LANE. I believe it _is_ a very pleasant state, sir. I have had
+    very little experience of it myself up to the present. I have
+    only been married once. That was in consequence of a
+    misunderstanding between myself and a young person.
+
+    ALGERNON. [_Languidly._] I don't know that I am much interested
+    in your family life, Lane.
+
+    LANE. No, sir; it is not a very interesting subject. I never
+    think of it myself.
+
+    ALGERNON. Very natural, I am sure. That will do, Lane, thank
+    you.
+
+    LANE. Thank you, sir. [LANE _goes out_.]
+
+    ALGERNON. Lane's views on marriage seem somewhat lax. Really, if
+    the lower orders don't set us a good example, what on earth is
+    the use of them? They seem, as a class, to have absolutely no
+    sense of moral responsibility. [_Enter_ LANE.]
+
+    LANE. Mr. Ernest Worthing. [_Enter_ JACK. LANE _goes out_.]
+
+    ALGERNON. How are you, my dear Ernest? What brings you up to
+    town?
+
+    JACK. Oh, pleasure, pleasure! What else should bring me
+    anywhere? Eating as usual, I see, Algy?
+
+    ALGERNON. [_Stiffly._] I believe it is customary in good society
+    to take some slight refreshment at five o'clock. Where have you
+    been since last Thursday?
+
+    JACK. [_Sitting down on the sofa._] In the country.
+
+    ALGERNON. What on earth do you do there?
+
+    JACK. [_Pulling off his gloves._] When one is in town one amuses
+    oneself. When one is in the country one amuses other people. It
+    is excessively boring.
+
+    ALGERNON. And who are the people you amuse?
+
+    JACK. [_Airily._] Oh, neighbors, neighbors.
+
+    ALGERNON. Got nice neighbors in your part of Shropshire?
+
+    JACK. Perfectly horrid! Never speak to one of them.
+
+    ALGERNON. How immensely you must amuse them! (_Goes over and
+    takes sandwich._) By the way, Shropshire is your county, is it
+    not?
+
+    JACK. Eh? Shropshire? Yes, of course. Hallo! Why all these cups?
+    Why such extravagance in one so young? Who is coming to tea?
+
+The first point to be noticed is that the stage directions are not
+sufficient. To begin with, the only information we have as to the
+morning-room is that it is in Algernon Moncrieff's flat in Half Moon
+Street, and that it is "_luxuriously and artistically furnished_." The
+next directions--"LANE _is arranging tea on a table_"--prove that there
+_is_ a tea-table with tea things on it. We are therefore dependent on
+the ensuing dialogue and the implied or briefly described action to
+furnish clues as to the entrances, furniture, and "props" which will be
+required in the course of the act. It is, of course, the director's and
+the stage manager's business to go through the play beforehand, and have
+all these points well in mind. Let us now see how this is done, and
+proceed to block out the first part of the play.
+
+The room evidently at least has two doors: one leading into the
+hallway--up-stage Center--the other halfway down-stage Right,[3] let us
+say for the present, as in the diagram:
+
+                             [Illustration]
+
+    [3] Right and Left in stage directions mean from the actors'
+        point of view. Up-stage and down-stage mean respectively away
+        from and toward the footlights.
+
+Before Algernon's entrance, Lane, the butler, is preparing tea. Where is
+the table? Some subsequent business may necessitate its being in a
+position different from the one first chosen, but let us assume that it
+is up-stage to the right:
+
+                             [Illustration]
+
+There it is not likely to be in the way of the actors; furthermore, it
+is not on the same side of the stage as the sofa--which is the next
+article of furniture to be placed. If the table and the sofa and the
+door were all on the same side of the stage, it would be much too
+crowded, especially as the larger part of the subsequent action revolves
+about them.
+
+Lane, then, is busied with the tea things for a moment, as and after the
+curtain rises. Then the music of a piano is heard off-stage to the
+right. It stops, and a moment later Algernon enters. As he evidently has
+nothing in particular to do at that moment, he may stand at the center
+of the stage, facing Lane, who stops his work and respectfully answers
+his master's questions. When Algernon says: "And, speaking of the
+science of Life, have you got the cucumber sandwiches cut for Lady
+Bracknell?", what more natural than that he should look in the direction
+of the table, and perhaps even make a step toward it? Lane then goes to
+the table, takes up the salver with the sandwiches on it, and hands it
+to Algernon. Here there are no other directions than _"Hands them on
+salver_." The other "business" is inferred from the dialogue. Algernon
+then "_Inspects them, takes two, and sits down on the sofa_."
+
+This is the first reference to the sofa. The original prompt-copy must,
+of course, have made clear exactly where each article of furniture
+stood, but, for the reasons above enumerated, let us place the sofa as
+in the diagram:
+
+                             [Illustration]
+
+Notice now that nothing is said of the salver. But from the direction
+near the top of page 3--(Luce and Baker editions) "_Goes over and takes
+sandwich_"--we may assume that Lane takes the salver back to the table.
+Undoubtedly, he does this as Algernon sits on the sofa. This stage
+direction should be indicated in the prompt-copy, as well as in that of
+the actor playing Lane, as follows:
+
+                             [Illustration]
+
+As soon as Lane has done this, or even before, Algernon resumes his
+conversation, while Lane turns and listens to him. Lane stands somewhere
+between the table and the sofa, at a respectful distance from Algernon.
+The next "business" occurs when Algernon says "That will do, Lane, thank
+you", and Lane replies "Thank you, sir", and goes out. This brings up
+another question which is not answered, as yet at least, in the text.
+Does Lane go out Right? Possibly; or is there another entrance Left,
+leading to the butler's room? So far as we are able to determine, there
+is no good reason why the room to the right, where Algernon was playing,
+should not lead to the butler's room, or to wherever he is supposed to
+go. And in this case, there is no reason why Lane cannot, during
+Algernon's soliloquy, have heard the doorbell ring, answered it, and
+been ready to reënter, announcing, as he does: "Mr. Ernest Worthing."
+Jack then enters, Right. Although again there is no stage direction, it
+is likely that Algernon rises to greet his friend and shake hands with
+him.
+
+Once more, the stage directions, or rather the want of them, are apt to
+confuse. On the top of page 3, we read that Jack pulls "_off his
+gloves_." He wears a hat, of course, and probably a coat. He carries his
+hat in his hand, but presumably still wears his coat, and certainly his
+gloves. Lane, before he leaves, would undoubtedly take Jack's hat, help
+him off with his coat, and take them out with him. Then, before the two
+men shake hands--if they do--Jack pulls off his gloves. Jack's line,
+"Eating as usual, I see, Algy," is sufficient indication to prove that
+in one hand Algernon holds a sandwich. Algernon then sits down. The
+dramatist would surely have mentioned Jack's sitting down if that had
+been his intention; therefore Jack may stand. Now comes the direction
+about Jack's "Pulling off his gloves." What does he do with them? For
+the present, at least, let us allow him to go to the tea table, and lay
+them on it. A moment later, Algernon "_Goes over and takes sandwich_."
+He stands by the table, eating, and this attracts Jack's attention to
+the somewhat elaborate preparations for tea. Algernon then says: "By the
+way, Shropshire is your county, is it not?" But Jack, too engrossed in
+the preparations, scarcely hears the other, and answers: "Eh?
+Shropshire? Yes, of course," and so on. Then he evidently goes to the
+tea table.
+
+This is the general method of attack to be pursued. It may be that later
+in the same scene it will be necessary to go back and undo some of the
+"business", because the only available text of this play--and this is
+almost always true of printed plays--is not in prompt-copy form. The
+making, therefore, of a prompt-copy is a slow process. First, the
+director goes through the play and plans in a general way what the
+action is to be, but only by rehearsing his cast on a particular stage
+and under specific conditions, is he able to know every detail of the
+action. By the time the actors are letter-perfect, the prompt-copy ought
+likewise to be fairly perfect. It is always dangerous to change
+"business" after the actors have memorized their parts.
+
+During this preliminary blocking-out process, little or no attention
+need be paid to details: the mere outlining of the action, together with
+the reading of the lines by the actors, is sufficient.
+
+Sometimes printed plays suffer from too many stage directions, and
+occasionally even the careful Bernard Shaw, as the following extract
+will prove, is far from clear. Here are the opening pages of "You Never
+Can Tell":[4]
+
+    [4] Published separately by Brentano's.
+
+    _In a dentist's operating room on a fine August morning in 1896.
+    Not the usual tiny London den, but the best sitting-room of a
+    furnished lodging in a terrace on the sea front at a fashionable
+    watering place. The operating chair, with a gas pump and
+    cylinder beside it, is half way between the center of the room
+    and one of the corners. If you look into the room through the
+    window which lights it, you will see the fireplace in the middle
+    of the wall opposite you, with the door beside it to your left;
+    an M.R.C.S. diploma in a frame hung on the chimneypiece; an easy
+    chair covered in black leather on the hearth; a neat stool and
+    bench, with vice, tools, and a mortar and pestle in the corner
+    to the right. Near this bench stands a slender machine like a
+    whip provided with a stand, a pedal, and an exaggerated winch.
+    Recognizing this as a dental drill, you shudder and look away to
+    your left, where you can see another window, underneath which
+    stands a writing table, with a blotter and a diary on it, and a
+    chair. Next the writing table, towards the door, is a leather
+    covered sofa. The opposite wall, close on your right, is
+    occupied mostly by a bookcase. The operating chair is under your
+    nose, facing you, with the cabinet of instruments handy to it on
+    your left._ _You observe that the professional furniture and
+    apparatus are new, and that the wall paper, designed, with the
+    taste of an undertaker, in festoons and urns, the carpet with
+    its symmetrical plans of rich, cabbagy nosegays, the glass
+    gasalier with lustres, the ornamental, gilt-rimmed blue
+    candlesticks on the ends of the mantelshelf, also glass-draped
+    with lustres, and the ormolu clock under a glass cover in the
+    middle between them, its uselessness emphasized by a cheap
+    American clock disrespectfully placed beside it and now
+    indicating 12 o'clock noon, all combine with the black marble
+    which gives the fireplace the air of a miniature family vault,
+    to suggest early Victorian commercial respectability, belief in
+    money, Bible fetichism, fear of hell always at war with fear of
+    poverty, instinctive horror of the passionate character of art,
+    love and the Roman Catholic religion, and all the first fruits
+    of plutocracy in the early generations of the industrial
+    revolution._
+
+    _There is no shadow of this on the two persons who are occupying
+    the room just now. One of them, a very pretty woman in
+    miniature, her tiny figure dressed with the daintiest gaiety, is
+    of a later generation, being hardly eighteen yet. This darling
+    little creature clearly does not belong_ _to the room, or even
+    to the country; for her complexion, though very delicate, has
+    been burnt biscuit color by some warmer sun than England's; and
+    yet there is, for a very subtle observer, a link between them.
+    For she has a glass of water in her hand, and a rapidly clearing
+    cloud of spartan obstinacy on her tiny firm mouth and quaintly
+    squared eyebrows. If the least line of conscience could be
+    traced between those eyebrows, an Evangelical might cherish some
+    faint hope of finding her a sheep in wolf's clothing--for her
+    frock is recklessly pretty--but as the cloud vanishes it leaves
+    her frontal sinus as smoothly free from conviction of sin as a
+    kitten's._
+
+    _The dentist, contemplating her with the self-satisfaction of a
+    successful operator, is a young man of thirty or thereabouts. He
+    does not give the impression of being much of a workman: his
+    professional manner evidently strikes him as being a joke; and
+    it is underlain by a thoughtless pleasantry which betrays the
+    young gentleman still unsettled and in search of amusing
+    adventures, behind the newly set-up dentist in search of
+    patients. He is not without gravity of demeanor; but the
+    strained nostrils stamp it as the gravity of the humorist. His
+    eyes are clear,_ _alert, of sceptically moderate size, and yet a
+    little rash; his forehead is an excellent one, with plenty of
+    room behind it; his nose and chin cavalierly handsome. On the
+    whole, an attractive, noticeable beginner, of whose prospects a
+    man of business might form a tolerably favorable estimate._
+
+    THE YOUNG LADY (_handing him the glass_). Thank you. (_In spite
+    of the biscuit complexion she has not the slightest foreign
+    accent._)
+
+    THE DENTIST (_putting it down on the ledge of his cabinet of
+    instruments_). That was my first tooth.
+
+    THE YOUNG LADY (_aghast_). Your first! Do you mean to say that
+    you began practising on me?
+
+    THE DENTIST. Every dentist has to begin on somebody.
+
+    THE YOUNG LADY. Yes: somebody in a hospital, not people who pay.
+
+    THE DENTIST (_laughing_). Oh, the hospital doesn't count. I only
+    meant my first tooth in private practice. Why didn't you let me
+    give you gas?
+
+    THE YOUNG LADY. Because you said it would be five shillings
+    extra.
+
+    THE DENTIST (_shocked_). Oh, don't say that. It makes me feel as
+    if I had hurt you for the sake of five shillings.
+
+    THE YOUNG LADY (_with cool insolence_). Well, so you have! (_She
+    gets up._) Why shouldn't you? it's your business to hurt people.
+    (_It amuses him to be treated in this fashion; he chuckles
+    secretly as he proceeds to clean and replace his instruments.
+    She shakes her dress into order, looks inquisitively about her;
+    and goes to the window._) You have a good view of the sea from
+    these rooms! Are they expensive?
+
+    THE DENTIST. Yes.
+
+    THE YOUNG LADY. You don't own the whole house, do you?
+
+    THE DENTIST. No.
+
+    THE YOUNG LADY (_taking the chair which stands at the writing
+    table and looking critically at it as she spins it round on one
+    leg_). Your furniture isn't quite the latest thing, is it?
+
+    THE DENTIST. It's my landlord's.
+
+    THE YOUNG LADY. Does he own that nice comfortable Bath chair?
+    (_pointing to the operating chair_).
+
+    THE DENTIST. No: I have that on the hire-purchase system.
+
+    THE YOUNG LADY (_disparagingly_). I thought so. (_Looking about
+    her again in search of further conclusion._) I suppose you
+    haven't been here long?
+
+    THE DENTIST. Six weeks. Is there anything else you would like to
+    know?
+
+    THE YOUNG LADY (_the hint quite lost on her_). Any family?
+
+
+Shaw's stage directions here are more than sufficient: they are intended
+not only for the director, stage manager, property man, scene painter,
+and actor, but for the reader as well. His directions are always
+stimulating and suggestive, and should be studied by the actors; but,
+from the point of view of the director and stage manager, they are
+bewilderingly diffuse and sometimes confusing. The fact, for instance,
+that the action takes place precisely in 1896, can be of little interest
+to the manager. Nor can a clock indicate twelve o'clock "noon." In such
+stage directions as these the director will therefore have to separate
+the purely mechanical elements from the literary and atmospheric. Let us
+now apply ourselves to the rather difficult task of making a diagram of
+the stage and its settings.
+
+It is a "fine August morning." The sun is shining out-of-doors and, as
+the room looks out over the sea, the stage must be lighted through one
+of the windows. The dramatist goes on to say that the room is "_Not the
+usual tiny London den, but the best sitting room of a furnished
+lodging._" By inference, it is a large room. The operating chair is
+"_half way between the center of the room and one of the corners_."
+Which corner is not designated. Let us try to plot out the stage on the
+assumption that we are looking at it through a window halfway down-stage
+on the left (the actor's left, of course). The window which lights the
+room is placed thus:
+
+                             [Illustration]
+
+Looking through this window, "_you will see the fireplace in the middle
+of the wall opposite you, with the door beside it to your left_":
+
+                             [Illustration]
+
+The next article of furniture mentioned is the easy chair "_on the
+hearth_":
+
+                             [Illustration]
+
+Then come "_a neat stool and bench_" and, near them, a dental drill:
+
+                             [Illustration]
+
+"_Near it_" is not definite, but for the time being, let us allow it to
+stand up-stage near the stool and bench, but a little toward Center.
+Next, you "_look away to your left, where you can see another window_."
+The direction here is not practicable, but the window may well go above
+the fireplace, instead of below, thus:
+
+                             [Illustration]
+
+Underneath this window stands a writing table and a chair:
+
+                             [Illustration]
+
+"_Next the writing table, towards the door, is a leather covered sofa._"
+To add another article of furniture to this already crowded side of the
+stage would not only make the room appear unnatural to the audience, but
+would render it impossible for the actors to move about with ease. The
+director will therefore have to use his ingenuity and judgment as to
+where to put the sofa. Some subsequent "business" may necessitate a
+change of the disposition of more than one chair or sofa or stool, but
+the process here outlined is the first step. To proceed: the sofa, then,
+must be placed somewhere else. But where? By moving the drill to the
+left, in the corner, the sofa can be placed next to the table, as
+follows:
+
+                             [Illustration]
+
+"_The opposite wall, close on your right, is occupied mostly by a
+bookcase. The operating chair is under your nose, facing you, with the
+cabinet of instruments handy to it on your left._"
+
+                             [Illustration]
+
+It is at once observed how necessary it was to move the drill from the
+other side of the room to this: over by the table, it would be out of
+convenient reach of the dentist.
+
+The difficulty of arranging the stage in this case will at once prove
+the imperative need of going through the play with the utmost attention
+to stage directions and _lines_, in order to make an accurate series of
+stage diagrams, property, light, and furniture plots.
+
+Notice that in the preliminary stage directions the center entrance is
+not designated. It soon becomes evident, however, that a center door (or
+one, at least, at the back of the stage) is taken for granted.
+
+This elementary diagram will serve as a working basis. A very little
+rehearsing will soon make it necessary to arrange the furniture, and so
+on, in a manner more pleasing to the eye and more convenient to the
+actor.
+
+                             [Illustration]
+
+There is one more kind of text with which amateurs have to do: it is the
+reprint of actual prompt-copies, and is usually accurate in material
+details. The following extract is from the opening pages of the fourth
+act of Henry Arthur Jones's "The Liars" (in the special edition
+published by Samuel French):
+
+    _Scene: Drawing-room in Sir Christopher's flat in Victoria
+    Street. L. at back is a large recess, taking up half the stage.
+    The right half is taken up by an inner room furnished as library
+    and smoking-room. Curtains dividing library from drawing-room.
+    Door up-stage, L. A table down-stage, R. The room is in great
+    confusion, with portmanteau open, clothes, etc., scattered over
+    the floor; articles which an officer going to Central Africa
+    might want are lying about._
+
+The diagram, as given in the text, is this:
+
+                             [Illustration]
+
+This is merely a skeleton, as it were, of a diagram, but first, the
+preliminary stage directions--quoted above--and the detailed and full
+marginal and other stage directions in the text, make clear every
+crossing, entrance, and exit, and designate at least the important
+articles of furniture and "props." For example, it is learned from the
+text on the first and second pages of the act, that there is a uniform
+case "up-Center"--up-stage, that is, in the center of it; a folding
+stool by the table; a trunk to the left of Center; and a sofa on the
+extreme left. Unlike the quotations from the Wilde and Shaw plays, those
+of Jones supply all necessary information to the stage manager and the
+actors. Of course, as always, modifications must be made to meet the
+exigencies of certain stages and certain actors, but these are minor
+matters.
+
+The fundamental principles of this preliminary blocking-out having been
+laid down, we shall now proceed to a consideration of the infinitely
+varied problems of grouping and detailed stage business.
+
+
+
+
+[Illustration: SET FOR MUSSET'S "WHIMS", PRODUCED BY THE
+WASHINGTON SQUARE PLAYERS.
+
+(Courtesy of The Washington Square Players).]
+
+
+
+
+                               CHAPTER V
+
+                               REHEARSING
+
+                                   II
+
+
+While it is true that the possibilities of variation in the matter of
+grouping, crossing, and so on, are infinite, still there are some
+definite principles to be followed.
+
+Suppose that the blocking-out process is over with, and the actors have
+a fair idea of their entrances, positions, business, and exits. The two
+following extracts (the first from the third act of Jones's "The Liars",
+the second from Edouard Pailleron's "The Art of Being Bored") serve to
+illustrate two ways of going about the problem of grouping actors on the
+stage. The first contains specific directions, the second only the
+merest suggestions. Below is the diagram of the stage in the third act
+of "The Liars":
+
+                             [Illustration]
+
+Up to page 107, which is reproduced on page 50, the characters are
+grouped as indicated:
+
+                             [Illustration]
+
+Following carefully the stage directions in the text and on the margin,
+the action is traced as follows:
+
+    Mrs. Crespin shakes hands with Sir Christopher. Then (marginal
+    note) "_Sir C. opens door L. for Mrs. Crespin_":
+
+                             [Illustration]
+
+    (_Exit_ MRS. CRESPIN.[5] _They all stand looking at each other,
+    nonplussed._ SIR CHRISTOPHER _slightly touching his head with
+    perplexed gesture_.)
+
+        [5] _Sir C. opens door L. for Mrs. Crespin; after her
+            exit, closes door. They all turn and look at Sir C. He
+            sinks into a chair up C., and shakes his head at them._
+
+                                 SIR C.
+
+    Our fib won't do.
+
+                                LADY R.
+
+    Freddie, you incomparable nincompoop!
+
+                                FREDDIE.
+
+    I like that! If I hadn't asked her, what would have happened?
+    George Nepean would have come in, you'd have plumped down on him
+    with your lie, and what then? Don't you think it's jolly lucky I
+    said what I did?[6]
+
+        [6] _Lady Jess. sits L.C. Sir Chris. puts hat on
+            bookcase C., and comes down C._
+
+                                 SIR C.
+
+    It's lucky in this instance. But if I am to embark any further
+    in these imaginative enterprises, I must ask you, Freddie, to
+    keep a silent tongue.
+
+                                FREDDIE.
+
+    What for?
+
+                                 SIR C.
+
+    Well, old fellow, it may be an unpalatable truth to you, but
+    you'll never make a good liar.[7]
+
+        [7] _Lady R. and Lady Jess. agree with Sir C._
+
+                                FREDDIE.
+
+    Very likely not. But if this sort of thing is going on in my
+    house, I think I ought to.
+
+                               LADY R.[8]
+
+        [8] _Crosses to him C. Freddie sits R.C. annoyed._
+
+    Oh, do subside, Freddie, do subside!
+
+                               LADY J.[9]
+
+        [9] _5th call. George._
+
+    Yes, George--and perhaps Gilbert--will be here directly. Oh,
+    will somebody tell me what to do?
+
+Then, "_after her exit, closes door_. _They all turn and look at Sir C.
+He sinks into a chair and shakes his head at them._" Into which chair
+does he sink? Since in a moment he must put his hat on the bookcase,
+Center, he had better sit on the chair to the right of it:
+
+                             [Illustration]
+
+Then, at the end of Freddie's speech, "_Lady Jess. sits L.C._ [left of
+Center]. _Sir Chris. puts hat on bookcase C., and comes down C._"
+
+                             [Illustration]
+
+The last speech of Lady Rosamund on this page is accompanied by the
+following stage direction: "_Crosses to him_ [Sir Christopher] _C.
+Freddie sits R.C. annoyed_."
+
+                             [Illustration]
+
+This is very simple, but only in the rarest instances are stage
+directions so carefully worked out and indicated. The director will
+usually be confronted by long pages where there are few or no definite
+or dependable directions. The original text of Shakespeare affords us
+only the most elementary explanations of stage "business", so that when
+Shakespeare is produced it is wisest to use one of the many stage
+editions, in which the traditional directions, or others equally good,
+are given at some length. Usually, however, the director will be aided
+by directions which are fairly full and fairly accurate, but never quite
+dependable. The following excerpt--from "The Art of Being
+Bored"--contains the ordinary sort of directions, the kind that are
+found in good plays and bad. The set is described in the first act as
+being:
+
+    "_A drawing-room, with a large entrance at the back, opening
+    upon another room. Entrances up- and down-stage. To the left,
+    between the two doors, a piano. Right, an entrance down-stage;
+    farther up, a large alcove with a glazed door leading into the
+    garden; a table, on either side of which is a chair; to the
+    right, a small table and a sofa; arm-chairs, etc._"
+
+This may be plotted in the following manner:
+
+                             [Illustration]
+
+There are no specific directions as to the position of the sofa and
+chairs, but as a large number of characters are on the stage at one
+time, a great many will be necessary. The exact number of chairs, as
+well as the positions they will have to occupy, depend largely on the
+size and shape of the stage. The above diagram will serve at first as a
+working basis. Turning to the opening of the second act, we find the
+following directions:
+
+    (_Same as Act 1._
+
+    (_Bellac, Toulonnier, Roger, Paul Raymond, Madame de Céran,
+    Madame de Loudan, Madame Arriégo, the Duchess, Suzanne, Lucy,
+    Jeanne seated in a semi-circle, listening to Saint-Réault, who
+    is finishing his lecture_).
+
+                             [Illustration]
+
+    SAINT-RÉAULT. And, make no mistake about it! Profound as these
+    legends may appear because of their baffling exoticism, they are
+    merely--my illustrious father wrote in 1834--elemental,
+    primitive imaginings in comparison with the transcendental
+    conceptions of Brahmin lore, gathered together in the
+    Upanishads, or indeed in the eighteen Paranas of Vyasa, the
+    compiler of the Vedda.
+
+    JEANNE (_aside to Paul_). Are you asleep?
+
+    PAUL. No, no--I hear some kind of gibberish.
+
+    SAINT-RÉAULT. Such, in simple terminology, is the _concretum_ of
+    the doctrine of Buddha.--And at this point I shall close my
+    remarks.
+
+    (_Murmurs. Some of the audience rise_).
+
+Here two or three--Bellac and Roger, and one of the ladies, let us
+say--rise, and chat in undertones in a small group among themselves.
+
+    SEVERAL VOICES (_weakly_). Very good! Good!
+
+    SAINT-RÉAULT. And now--(_He coughs_).
+
+    MADAME DE CÉRAN (_eagerly_). You must be tired, Saint-Réault?
+
+At this, Madame de Céran might well rise, as if to put an end to
+Saint-Réault's speech. The others are impatient, and perhaps one or two
+start to rise. The others whisper, or appear to do so. Then Saint-Réault
+continues:
+
+    SAINT-RÉAULT. Not at all, Countess!
+
+    MADAME ARRIÉGO. Oh, yes, you must be; rest yourself. We can wait.
+
+It is likely that here Madame Arriégo would rise and go to Saint-Réault.
+Two or three others would follow her.
+
+    SEVERAL VOICES. You must rest!
+
+    MADAME DE LOUDAN. You can't always remain in the clouds. Come
+    down to earth, Baron.
+
+    SAINT-RÉAULT. Thank you, but--well, you see, I had already
+    finished.
+
+                          (_Everybody rises_).
+
+Saint-Réault's audience may then form into small groups, somewhat as
+follows:
+
+                             [Illustration]
+
+Care must be taken not to give the stage a crowded appearance, nor yet
+an air of too well-ordered symmetry. To continue:
+
+    SEVERAL VOICES. So interesting!--A little
+    obscure!--Excellent!--Too long!
+
+    BELLAC (_to the ladies_). Too materialistic!
+
+    PAUL (_to Jeanne_). He's bungled it.
+
+    SUSANNE (_calling_). Monsieur Bellac!
+
+    BELLAC. Mademoiselle?
+
+    SUSANNE. Come here, near me.
+
+                        (_Bellac goes to her_).
+
+    ROGER (_aside to the Duchess_). Aunt!
+
+The direction "_aside to the Duchess_" shows that (1) Roger, after the
+company rose, either went to the Duchess; or that, (2) meantime he goes
+to her. This may be done either way, so long as the two are within
+reasonable whispering distance.
+
+    DUCHESS (_aside to Roger_). She's doing it on purpose!
+
+    SAINT-RÉAULT (_coming to table_). One word more! (_General
+    surprise. The audience sit down in silence and consternation_).
+
+Bearing in mind the change of position of Bellac, Roger, and
+Saint-Réault, we may reseat the characters as follows:
+
+                             [Illustration]
+
+While, as has been said, grouping depends to a great extent on the size
+and shape of the stage, it should always be borne in mind that the stage
+should in most cases be made to resemble a picture as regards balance
+and composition. This means that the director must avoid crowding; that
+the actors must learn to take their places as part of that picture, and
+not attempt either to usurp the center of the stage or to disappear
+behind other actors. No grouping should ever be left to chance or the
+inspiration of the moment; every actor must have marked down in his own
+script every movement he makes. Groups and crowds require a great deal
+of rehearsing, in order that they may always assume the right position
+at the right moment.
+
+When an impression of vast numbers of people is desired--as in "Julius
+Cæsar"--large numbers of "supes" are not needed. Eight or ten or twelve
+people, well managed, are sufficient to create an effect of this sort on
+a small stage, and perhaps twenty on a large. The basic principle of the
+art of the theater is suggestion, not reproduction.
+
+In the "forum scene" of Shakespeare's "Julius Cæsar" there are
+practically no stage directions. The management of the mob, therefore,
+is left entirely to the director. When the Third Citizen says: "The
+noble Brutus is ascended. Silence!" we are of course given to
+understand--by the word "Silence!"--that there has been some noise and
+confusion. The text affords the most important indications.
+
+Plot out, for practice, the position of the various members of the mob
+throughout this scene.
+
+As a rule, the best impression of a crowd is made by massing and
+manipulating groups of from three to six individuals. If movement is
+demanded, it must be precise and measured out carefully during
+rehearsals. Therefore, since it is nearly always impossible to get
+trained actors to compose mobs, it is well to intersperse two or three
+"leaders" in any crowd, who will give the cue for concerted action.
+
+The foregoing discussion, both in the present and preceding chapter, has
+been made largely from the director's and the stage manager's viewpoint.
+Let us now go back to the actor, and suggest a few methods which will
+help him.
+
+An easy and vivid way of remembering "business" at first is to make a
+very simple diagram, thus:
+
+                             [Illustration]
+
+Supposing A, who stands down-stage before the sofa, crosses up-stage to
+the small table, as he says: "I'll not stand it any longer!" Just after
+this line, the actor places a mark referring him to the margin of his
+"script", and makes another diagram:
+
+                             [Illustration]
+
+This represents A crossing to up-stage, left of the small table. In this
+way, when the actor is studying his lines, he cannot help studying the
+"business", and vice versa; and since lines and "business" almost always
+go hand in hand, he will run no danger of having first learned the one
+without the other.
+
+Considerable confusion is likely to arise when an overzealous director
+insists that his actors be "letter perfect" before the "business" is
+well formulated and worked out and thoroughly learned.
+
+In the first chapter on Rehearsing, the blocking-out process was
+discussed, but the order in which each act was to be rehearsed, the time
+to be spent on it, etc.--these matters were deferred, and will now be
+taken up.
+
+At the next rehearsal--that is, after the blocking-out of the first
+act--the second is treated in the same way. And after the last act has
+been blocked out, the first should be rehearsed with greater care.
+Details of "business", grouping, the delivery of lines--especially the
+correction of errors in interpretation--must be carefully considered.
+Probably some of the "business" blocked out in the first rehearsal will
+have to be changed, or at least amplified. Entrances and exits must be
+repeatedly rehearsed until they go smoothly. The crossings and
+recrossing of one, two, or more characters, can scarcely be rehearsed
+too often.
+
+Let us take a few examples of this sort of detail work. A man comes home
+late, tired and hungry. Outside the sitting room through an open door,
+is seen the hatrack. How can this simple incident be made to appear true
+and interesting? Here is at least one manner of accomplishing it: a door
+is heard closing off-stage; footsteps resound in the hall. A, the man,
+appears, wearing a hat, overcoat, and gloves, at the Center door, looks
+into the room to see whether any one is present, seems surprised, utters
+a short exclamation, and then turns to the hatrack. His back to the
+audience, he takes off his hat, hangs it carelessly on a hook, then
+slowly draws off his gloves, allows his coat to fall from his shoulders,
+looks at himself in the glass for an instant, and then, with a sigh,
+comes into the room again.
+
+The incident, of course, is capable of a hundred variations, depending
+upon the character of the man, the circumstances under which he comes
+home, and so forth.
+
+Or, a little more complicated instance: A, B, and C, three men, are
+seated, talking after dinner. They are stationed as follows:
+
+                             [Illustration]
+
+A sits on the arm of the davenport, B on the davenport itself, and C in
+a chair at the lower right-hand side of the table.
+
+Notice first that the davenport is not placed at right angles to the
+audience; this is done so that two people, sitting side by side, may be
+better seen by the "house." Notice, too, that A is at the extreme
+left-hand corner of the davenport. Visualize this for an instant: here
+is proportion, line, and balance, but without the appearance of
+stiffness or symmetry, which should always be avoided. B rises and
+stands before the fireplace: again notice the grouping:
+
+                             [Illustration]
+
+A then rises and goes to the center of the stage, standing near the left
+of the table:
+
+                             [Illustration]
+
+This simple moving about the room should never be obtrusive; that is to
+say, the audience must never be conscious of the director's hand. First,
+every bit of "business", every move, every gesture, must be justified,
+otherwise it calls attention to itself. This is a distinct problem with
+amateurs, who naturally find it difficult not to move about when they
+have nothing else to do. They feel self-conscious unless they are
+"acting." The best rule for any amateur--although it is again the
+director who is responsible and should look after this--is, never to do
+anything unless he knows precisely why he does it, and unless he _feels_
+it.
+
+One further example: imagine a five-minute conversation, in the text of
+which there are no stage directions. It is between two women: D and E.
+They are seated, one in an arm-chair by the fire, the other in an
+ordinary chair to the right of a library table:
+
+                             [Illustration]
+
+There are not many plays in which two characters _merely_ converse for
+so long a period without well-motivated reasons, but it is well to take
+an extreme example. Let us assume that D is telling E the story of her
+life, and that for two minutes her speech contains little more than
+straight narrative. Suddenly she tells a sad incident, and E, who has a
+sympathetic nature, wipes her eyes with her handkerchief. D continues,
+and E, no longer able to restrain her tears but not wishing to show her
+emotion to D, rises and goes to the left of the stage for a moment or
+two. The long conversation scene is now broken up by a natural bit of
+action. While in life such a conversation might consume hours, on the
+stage it must be made more attractive and emotionally stimulating; in
+the theater, the appeal is through the eye and ear, to the emotions.
+
+Such a scene as the one just outlined must be repeatedly rehearsed,
+until every detail of the "business" is worked out perfectly.
+
+After approximately ten days' work on the first act--during which period
+each of the other acts should be run through at least three times--the
+actors should be letter perfect and able to give a fairly smooth
+performance.
+
+Then the other acts are rehearsed in like manner. Each act, after it is
+finished in this way, must be rehearsed at least every three or four
+days. When all the acts have been worked out, then each rehearsal is
+devoted to going through the whole play. Minor points in acting, minor
+"business", rendering of the lines, voice, gesture, etc., must naturally
+be insisted upon. Special cases must be dealt with outside the regular
+rehearsals, for the play should be interrupted as seldom as possible,
+because it is wise to let the actors become accustomed to going through
+the entire piece. It will be found expeditious, too, for small groups of
+characters who have scenes together to rehearse by themselves. The full
+rehearsals of the play are valuable both to actors and the director, for
+the latter is given a general view of his stage pictures which could in
+no other way be afforded him, and he is in a position to judge of his
+general and massed effects. At the same time the actors will more
+readily enter into the spirit of the work if they are permitted to play
+without interruption. Where the actors forget their lines, they should
+be prompted without other delay, but if they do anything actually wrong,
+or if the director wishes to make an important change, the performance
+must, of course, be stopped for a moment.
+
+The number of rehearsals necessary for the production of a play by
+amateurs depends largely on the attitude of the amateurs themselves, and
+the amount of time at their disposal. It is safe to say that ninety-nine
+out of a hundred such performances suffer noticeably from need of
+rehearsing. Nor is this to be wondered at, for the average professional
+play usually requires four or five weeks' rehearsing--seven to eight
+hours daily--for six and sometimes seven days in the week! Of course, an
+amateur is an amateur because he is not a professional, and he cannot
+afford very much time for work which is after all only a pastime. One
+other point should be well borne in mind: the average amateur has not
+the patience of the professional. If he is rehearsed too long or too
+steadily, he will grow "stale", and lose interest in his work.
+
+Still, no full-length play can safely be produced with less than four
+weeks' work, on an average of five rehearsals of three hours each, per
+week. (This does not include special and individual outside rehearsals.)
+Four weeks is the shortest time that can be allowed, while six or seven
+should be devoted to it. So much time is not necessary in order that the
+company may attempt to become professionals; that would be impossible
+and not at all advisable. The amateur, if rightly trained, should be
+able to impart a certain natural, naïve, unprofessional tone to the part
+he is impersonating, but this can only be done by constant rehearsing.
+The director usually finds that the amateur's first instinct is to
+imitate the tricks of the professional actor, and not allow himself to
+_feel_ the character of the rôle. The professional quickly assimilates
+mannerisms which are only too likely to become mechanical, but which the
+amateur, because he is an amateur, is not likely to learn, if at first
+he is trained to avoid them.
+
+There is no particular excuse for presenting plays which can be seen
+acted anywhere and any time by professionals; amateurs should strive to
+produce classics, or modern plays which for one reason or another are
+not often seen, and impart to them that peculiar flavor which charms as
+well as interests and attracts. Nor is there much use in the amateur
+actor's striving to become professional in manner: he cannot hope, in
+the short time he can spare for his work, to become a good professional;
+or, if he gives signs of becoming such, then he no longer belongs in
+amateur dramatics. Allow the amateur plenty of leeway in the matter of
+interpretation, if he has any original ideas of his own; but of course
+these must never be at variance with the general idea of the play. Let
+him work out his own salvation: here lies the value of amateur
+production, both to the actor and to the audience.
+
+Often amateurs are called upon to portray feelings, actions, passions,
+of which they have no knowledge or experience. Love scenes, for
+instance, are invariably difficult. In this case, the actors must be
+taught a few conventional gestures, attitudes, and tricks, but they
+should not be permitted--except in rare cases--to lay much stress on the
+acting. This also applies to such purely conventional matters as
+kissing, dying, fighting, etc., for which a set of recognized technical
+tricks has been evolved. Any competent director can train actors to do
+this.
+
+One more point before this part of rehearsing is dispensed with: amateur
+productions suffer largely from a lack of continuous tension and
+variety. Often the action is slow, jerky, and consequently tedious.
+Constant rehearsing, with a view to inspiring greater confidence and
+sureness in the actors, under a good director, is the best means to
+overcome these great drawbacks. The last eight or ten rehearsals, after
+the cast are familiar with their lines and "business", are the most
+important in the matter of tempo. Details of shading, well-developed and
+modulated action, and a well-defined climax, are what must be worked
+for. When the actors are no longer thinking of when they must cross or
+sit down or rise, they are ready to enter whole-heartedly into the
+spirit of the play as an artistic unit.
+
+As an example, on a small scale, of how a scene may be modulated and
+shaded, two pages from Meilhac and Halévy's "Indian Summer" (published
+by Samuel French) are here reprinted with marginal notes explaining how
+these effects are obtained.
+
+                    {ADR. Just a moment ago I forgot that such a thing
+                    {was out of the question--
+  _Slowly_          {
+  _and_             {BRI. Why out of the question--?
+  _quietly._        {
+                    {ADR. Why, because--
+
+                    {BRI. Because what? How much did that American
+  _Slight increase_ {family pay you? I'll give you twice as much--three
+  _of_              {times as much. Whatever you want!
+  _speed and_       {
+  _tension._        {ADR. Only to read to you?
+                    {
+                    {BRI. Why, yes.
+
+                    {ADR. That wouldn't be so bad--there's just one
+                    {thing against it--it might be just a wee bit
+                    {compromising!
+                    {
+  _Slowly_          {BRI. Oh!
+  _rising_          {
+  _tension_         {ADR. Really, don't you think so? Just a bit?
+  _and speed._      {
+                    {BRI. At my age?
+                    {
+                    {ADR. (_gaily_). Oh, it's all very well--a young
+                    {person like me--alone with you. (_Seriously._) Oh,
+                    {if you only didn't live alone--!
+                    {
+  _Staccato._       {BRI. If I--? If I weren't alone?
+
+                    {ADR. If you only had some relatives--married
+                    {relatives--your nephew, for instance, with his
+                    {wife--then I might--
+
+                    {BRI. Once more, don't speak to me of--! He's the
+                    {one that brought all this trouble on us--that
+                    {letter that forces you to--that letter came from
+  _Emphasis._       {him. (ADRIENNE _makes a quick movement of
+                    {protest_.) 'Tisn't his fault, I know, but I hold
+                    {a grudge against him as if it were--
+
+  _Momentary_       {ADR. And yet, if I told you--
+  _pause._          {
+                    {BRI. (_stopping her_). Shh! If you please.
+                    {(_Pause._)
+
+                    {ADR. (_moved_). Then I must go. That was the only
+  _Diminuendo._     {way; and you don't want to do that. I'm sure I
+  _Tense,_          {don't know what will happen afterward. I still
+  _but quiet._      {hope--But for the moment, I must (_Mild access of
+                    {crying_). Oh I'm sorry--so sorry--(_Falls into
+                    {chair at side of table_).
+
+                    {BRI. (_excitedly_). Adrienne!
+  _Slight increase_ {
+  _again._          {ADR. (_recovering mastery over herself_). I beg
+                    {your pardon--there! There! (_Brushing away her
+                    {tears_).See, it's all over!
+
+                    {BRI. Adrienne!
+                    {
+                    {ADR. (_rising_). Monsieur!
+                    {
+                    {BRI. It's true, then, if there were some way, you
+                    {would--? Not the way I mentioned just now--but
+                    {another--you wouldn't leave, would you? You'd
+  _Quickly_         {stay here--near me--always--and be happy?
+  _increasing_      {
+  _rise._           {ADR. (_lightly_). Oh yes, it's too--I say it from
+                    {the bottom of my heart!
+                    {
+                    {BRI. Very well, you shan't go.
+                    {
+  _Quickly._        {ADR. I--?
+                    {
+                    {BRI. No, you shan't go.
+                    {
+                    {ADR. But--how?--Why?
+
+                    {BRI. I have found a way!
+  _Moment_          {
+  _of suspense._    {ADR. And it is?
+
+                    {BRI. To make you my wife!
+  _Climax._         {
+                    {ADR. (_Sits down again, overcome_).
+
+                    {BRI. I'll do it!--Go and speak to your Aunt--Here!
+                    {Come here! (_Enter_ NOEL, _right, carrying a
+                    {bundle of papers_). Come here! Don't be afraid! You
+                    {may go and get your wife. Bring her here! I'll
+                    {forgive her as I forgive you! (_Shakes hands warmly
+                    {with_ NOEL).
+                    {
+  _High tension_    {NOEL. Uncle!
+  _after_           {
+  _the_             {BRI. You were right--now I know it! What do I
+  _climax,_         {care if she is a watchmaker's daughter? Go and get
+  _and preparatory_ {your wife--bring her here--and we'll live together,
+  _to another_      {the four of us us--
+  _climax_          {
+  _later on._       {NOEL. All four of us?
+                    {
+                    {BRI. Yes, all four! (_To_ ADRIENNE). I am going
+                    {to speak to your Aunt--I'll be back at once.
+                    {(_Exit Center_).
+
+
+
+
+[Illustration: "SISTER BEATRICE" OF MAETERLINCK, PRODUCED AT THE
+WESTERN RESERVE COLLEGE FOR WOMEN.
+
+The simple hangings produce a good cyclorama effect. (Courtesy of Miss
+Ida Treat).]
+
+
+
+
+                               CHAPTER VI
+
+                               REHEARSING
+
+                                  III
+
+
+The dress rehearsal usually takes place on the night before the regular
+performance.
+
+Every effort must be made on this occasion to have conditions, on the
+stage and behind it, as nearly as possible like those under which the
+play is to be given. Scenery, lighting, costumes, must all be ready, and
+the performance carried through with as few interruptions as the
+director can afford to make. The director should be in the back of the
+"house", and stop the players only when they do something absolutely
+wrong. It is very unwise to change lines or "business" at this eleventh
+hour. The stage manager and his assistants must be in their assigned
+places, the lights manipulated, actors "called", the curtain rung up and
+down on schedule. The director watches the general effects, sees that
+the stage is not crowded, that the lights are in order, and above all,
+watches the tempo of the performance.
+
+The actors must be informed that on the occasion of the performance the
+audience is likely to distract them by applause, laughter, etc., and
+that they, the actors, must pause for a moment when there is any such
+interruption. A little advice as to resting, not worrying about lines,
+etc., will not be out of place.
+
+Besides the _acting_ dress rehearsal, there should be a scene and light
+rehearsal. This is merely for the assistants behind the stage. The
+different scenes (if there is more than one) should be set and "struck"
+(taken down), furniture and "props" stationed, lights worked, exactly as
+they are to be on the following night. Everything should go according to
+clockwork, the stage manager "holding the book" on all his assistants.
+
+The performance should begin on time. Every one knows the irksome delay
+usually incident to amateur performances, and it ought to be the object
+of every director to remedy a defect which is inherent in our usual
+slipshod method of reproducing plays. Promptness is the prime requisite
+of efficiency, and the production of plays is successful only when the
+component elements are organized on a sort of military basis. The actors
+must be in the theater on time, and "made-up" in costume, at least half
+an hour before the curtain rises. It is well for each actor to see the
+property man and make sure that all the "props" necessary to his part
+are in readiness. The property man himself must also check up his list
+for the last time, in order to avoid confusion during the performance.
+
+When everything is in order, there is little more to be done. The
+director might make a few general remarks to the cast, endeavor to
+inspire them with confidence and impress upon them the necessity of
+playing together harmoniously, and so on, but if his work has been well
+done during rehearsals, this will not be necessary.
+
+The prompter must follow the play line for line and be ready to prompt
+any actor who forgets his part. It is well for the stage manager to be
+near the prompter, in order that every cue for lighting, "business"
+off-stage--like ringing bells, shooting, etc.--may be acted upon as
+required.
+
+
+
+
+                             [Illustration]
+
+[Illustration: TWO VIEWS OF THE STAGE AT TUFTS COLLEGE, SHOWING PLENTY
+OF OPEN SPACE FOR THE STORING AND SHIFTING OF SCENERY.
+
+(Courtesy of L. R. Lewis).]
+
+
+
+
+                              CHAPTER VII
+
+                               THE STAGE
+
+
+A great deal more attention is being directed--in this country, at
+least--to the improvement of the physical requirements of the stage than
+heretofore. During the past few years, numerous writers[10] have made a
+systematic study of theaters abroad and at home, and revealed the fact
+that on the whole our theaters, both before and behind the curtain, are
+antiquated, ill-equipped, and fall far short of the infinite
+possibilities which have been made realized in certain cities of Germany
+and Russia.
+
+    [10] Hiram Kelly Moderwell, in his "The Theatre of To-day"
+        (Lane), and Sheldon Cheney, in his "The Modern Movement in the
+        Theatre" (Kennerley), have rendered signal service in this
+        field. The first book contains a thoroughly systematic account
+        of practically all the new theatrical experiments.
+
+Revolutionary experiments in lighting, as well as in the disposition of
+stage settings, have, during the past ten or twelve years, opened up
+fields formerly undreamed of.
+
+It is not the purpose of this chapter to describe at great length these
+innovations; the reader is referred to the books of Moderwell and Cheney
+mentioned in the footnote above. A few elementary suggestions, however,
+which may be used by skilled and intelligent amateurs, will prove
+suggestive to the average director and stage manager.
+
+It is likely that by far the greater number of amateur plays will be
+performed on a stage which is already built and equipped. In such cases,
+all the stage manager can do is to use his own scenery and at least have
+a voice in the matter of lighting. Still, many plays are performed on
+improvised stages, in private homes, clubs, or schoolrooms, or
+out-of-doors. This allows the stage manager a little more leeway, and
+often he may modify the size of the stage to suit himself, and introduce
+some innovations of his own.
+
+To those who are in a position either to build or temporarily construct
+their own stages, this chapter is primarily addressed.
+
+We shall now proceed to a consideration of a few of the more important
+innovations on the modern stage. The first of these is undoubtedly:
+
+=The Cyclorama.= This is "a white or tinted backing for the stage, built
+in the form of a segment of a vertical cylinder. It may be constructed
+of canvas or of solid plaster.... Now, if made of canvas, it is more
+usually kept, when not in use, on a vertical roller, at one side of the
+stage, near the front, and carried around behind the stage, unrolling
+from its cylinder the while, until it connects with a similar cylinder
+at the opposite side of the stage. It hangs from a circular iron rail,
+and almost completely encloses the stage, rising to the required
+distance.... It can be rolled up on its original cylinder when it is not
+needed, leaving the stage once more approachable from all sides.... The
+chief uses of the cyclorama are evident. It presents a continuous dead
+white or tinted background, which, when played upon by the proper
+lights, gives a striking illusion of depth and luminous atmosphere....
+But perhaps the chief value of the cyclorama, from the standpoint of the
+stage artist, has not yet been mentioned. For the new device changes
+altogether the problem of lighting. Ordinary sunlight is, as we know,
+not a direct light, but an infinitely reflected light, bandied about by
+the particles of air and by the ordinary physical objects on which it
+strikes. The mellowness and internal luminosity of ordinary sunlight is
+wholly due to this infinite reflection. It was the lack of this that
+made the old stage lighting, with its blazing direct artificial glare,
+so unreal. The cyclorama, and especially the dome cyclorama, permits the
+stage to be lighted largely or wholly by crisscrossing reflection. The
+mellow and subtle lighting which makes it possible was altogether
+unknown under the older methods."[11]
+
+    [11] Moderwell's "The Theatre of To-day." John Lane Company.
+
+The construction of a cyclorama, either of cloth or of plaster, is
+rather difficult, but there are certain simple substitutes which may be
+used to secure some of its elementary effects. The following system has
+been used by some amateurs with signal success.
+
+First take a wooden rod, or better, iron pipes, curved to the desired
+shape.
+
+Fasten this framework either to the ceiling of the "loft" or, if that is
+too high, to the wings. On the rod hang curtains of burlap, or some
+similar material, or else two or three thicknesses of cheesecloth, so
+that they fall in simple folds. The color will depend on the sort of
+play to be produced and the kind of lights used. As a rule, dark tan,
+green, or dark red are the best colors, and can be used on many
+occasions and for nearly every sort of play. Whether the "cyclorama"
+thus improvised be permanent or temporary, this is one of the best
+possible backgrounds. In out-of-door scenes, it gives a suggestion of
+distance.
+
+                             [Illustration]
+
+In Constance D'Arcy Mackay's book on "Costumes and Scenery for Amateurs"
+the author describes how a "desert and oasis" scene can be made from the
+simplest means:
+
+    "A plain sand-colored floor cloth. A backdrop or cyclorama of
+    sky-blue against which very low sand mounds appearing as if at
+    great distance, with palm trees, also made small by distance.
+    These mounds and palm trees should be painted low on the
+    backdrop, since a vast stretch of level sand is what is to be
+    suggested. It would even be possible to use a plain blue sky
+    drop, and run some sand-colored cambric into mounds across the
+    back of the stage, so as to break the sky line."
+
+It is not necessary, though, to _paint_ the cyclorama: darker cloth,
+made to represent mounds, thrown across the lower part of the cyclorama,
+would be equally effective. Further examples of what can be done with
+the cyclorama will be cited in the chapter on "Lighting."
+
+Another of the recent innovations which is of particular value to
+amateurs is the system by which the proscenium opening can be made large
+or small, according to the demands of the play. Usually the proscenium
+looks like the following diagram.
+
+[Illustration: AN ORDINARY BOX-SET. FROM DUMAS _FILS'_ "THE MONEY
+QUESTION", PRODUCED AT TUFTS COLLEGE.
+
+(Courtesy of L. R. Lewis).]
+
+Suppose one scene of a play calls for a large courtroom filled with
+people. Obviously, all the stage space is required. But suppose that the
+next scene is a small antechamber. On the average stage the discrepancy
+is at once observed, and the effect is more than likely ridiculous. Even
+if the sets used are "box sets" (that is, with three walls and not mere
+conventional screens or curtains), the effect of great size can easily
+be obtained in the first scene, and smallness in the second, by means of
+the device about to be described. This applies, of course, to plays
+where the same set must be used for both scenes. If, however, a
+different set is used for the antechamber scene, the new device is
+imperative.
+
+                             [Illustration]
+
+First, construct two tall screens (on a wooden framework), made either
+of painted canvas or draped cloth, of some dark and subdued tone, and
+place them on each side of the stage, just behind the proscenium arch,
+as in the diagram:
+
+                             [Illustration]
+
+These screens can be easily set closer to the center of the stage,
+thereby diminishing its size on the sides. Then the "grand drapery"
+above, which hangs down from behind the top of the proscenium arch, and
+which should be of the same color and material as the side screens, is
+lowered. This process makes, from the inside, a smaller proscenium arch.
+Many of the German and some other stages have added a fourth side to
+this frame, by "boxing" the footlights:
+
+                             [Illustration]
+
+This last, besides giving the effect of a detached picture to the set,
+prevents the direct rays of the footlights, when they are used, from
+shining up into the gallery.
+
+To return to the smaller scene made by the inner proscenium arch, it
+will readily be seen that the cyclorama--if there is one--or back wall
+of the set, or else the curtain, must usually be brought forward a
+little. The advantage of the inner proscenium becomes apparent when such
+a play as "The Merchant of Venice" is performed, and the absurdity of
+using a stage of the same size for the Portia-Nerissa scene in the first
+act and the casket scene, is forcibly brought to our attention.
+
+=The Revolving Stage= and =The Wagon Stage=. These are fully described
+in the books which have been referred to. They are both extremely
+valuable, but as yet too complicated and expensive to be seriously
+considered for amateurs.
+
+The introduction of simpler scenery and simpler lighting does away with
+much that was difficult to manage under the old system, and a few
+well-trained amateurs should be able to set and attend to almost any
+production without having recourse to the revolving stage and the
+"wagons."
+
+As much space as possible should be kept clear behind the curtain;
+occasions are likely to arise when the entire stage may be used, and
+manipulation of scenery on a full stage is a difficult task.
+
+A few suggestions as to lighting and its relation to scenery and color
+and action will be set forth in the next chapter.
+
+
+
+
+                              CHAPTER VIII
+
+                                LIGHTING
+
+
+It has been rightly urged that recent inventions and discoveries in
+lighting constitute the greatest contribution to the modern art of the
+theater. This manual is intended primarily to help the producer and the
+actor, but the present short chapter may assist the former or his
+associates in their effort to improve the physical conditions of the
+stage.
+
+The prevalent system of using footlights and border lights is on the
+whole bad, because it is false, unnatural, and above all unnecessary.
+Says Moderwell (pages 107-108, in "The Theatre of To-day"):
+
+    "Before we can begin work in artistic lighting we must do some
+    destroying. One element in the old lighting must go, and go
+    completely. We can say this with careless ease now that the
+    Fortuny system has given us a better way. But even before this
+    invention was made known, the case against the footlights must
+    have been obvious to any sensitive man of the theatre; that the
+    'foots' continued as long as they did indicates the stagnation
+    of the old theatre in all but purely literary art.
+
+    [Illustration: From "The Architectural Review."
+    OPERATION OF THE FORTUNY INDIRECT LIGHTING SYSTEM.]
+
+    "The footlights, with their corresponding border lights from
+    above, give a flat illumination. They make figures visible, but
+    not living; they destroy that most precious quality of the
+    sculptor, relief.... It is the shadows, the nooks and crannies
+    of light and shade, that show a figure to be solid and plastic."
+
+The Fortuny system mentioned is a device by which light is reflected and
+diffused: "An arc-lamp and several pieces of cloth of various
+colours--these comprise the Fortuny apparatus in its simplest form."
+While only an expert electrician and, if the effects are to be artistic,
+an artist, can erect and manipulate a system built on Fortuny's
+principles, still amateur electricians and directors should do their
+best, by means of experimentation, to use indirect lighting.
+
+Just how this can be done must rest with individuals, but two or three
+experiments may be briefly described.
+
+Suppose that the cyclorama, or the hangings masking the back of the
+stage, are made of white or light-colored cloth. In this case, an arc
+lamp or ordinary calcium light can be placed up in the loft, above the
+top of the cyclorama, and behind it. A little experimenting will reveal
+many striking light effects. If one light or lamp is not sufficient,
+others can be placed in various positions to reënforce it. As conditions
+vary so greatly, it is impossible to supply more concise directions.
+
+Where box sets are used in which there is at least one window, and
+provided the scene does not take place at night, it is much better to
+have all, or at least an appreciable portion of the light come in
+through one window. In the second act of Charles Klein's "The Music
+Master" played by David Warfield and produced by David Belasco, the
+stage was at one time brilliantly lighted, supposedly by sunshine from
+the outside, from the two opposite sides of the stage! If, however,
+screens and curtains are used (see chapter on "Scenery and Costumes"),
+then it is best to introduce some sort of central reflected light. To
+station lights on all sides of the stage will first of all make the
+stage too bright, and furthermore produce unnatural and distorted
+shadows: there is no chance for effects of relief or any illusion of
+plasticity. If possible, the footlights should be entirely eliminated;
+if not, then most sparingly used. Our stages are for the most part
+overlighted.
+
+The production of Lady Gregory's "The Rising of the Moon" by the Irish
+Players was one of the simplest and at the same time most effective of
+stage pictures. The following diagram will show in a rough way the
+general disposition of the settings:
+
+                             [Illustration]
+
+The back of the stage (the shaded area) was flooded with white light to
+suggest moonlight. There were no "foots" or "borders"; anything besides
+the single light would have ruined the effect of perfect placidity.
+
+
+
+
+                               CHAPTER IX
+
+                          SCENERY AND COSTUMES
+
+
+Very little need be said regarding the usual conventional sets, whether
+they represent interiors or exteriors. The purpose of this chapter is
+(1) to suggest simple but effective means of staging without using the
+conventional sets, and (2) to lay down a few principles as to costuming.
+
+By means of the simple devices about to be described, the amateur is
+enabled to do without "box sets" and all the paraphernalia of the old
+stage. The tendency nowadays is away from naturalism in setting; the aim
+is rather to supply simple but beautiful backgrounds with as little
+obvious effort as possible; to suggest rather than to represent. When
+the word "conventional" is used it is intended to convey the meaning not
+of "old" and "hackneyed", but of "simple", "suggestive." Beardsley's
+drawings are conventional because attitudes and lines are
+conventionalized.
+
+In the main, there are three sorts of setting which may be used for
+practically all kinds of plays. They have been successfully tried out on
+numerous occasions, and few plays have been found which cannot fit at
+least one of them.
+
+1. The first and simplest of them all consists of draperies and tall
+screens. The Greek classics and Shakespeare are particularly effective
+with this sort of background. Where Greek plays are given, a peristyle
+of wooden pillars up-stage, behind which may be hung white or tinted
+curtains, is especially desirable. Any Greek, and most Latin plays, can
+be produced with this setting. Often such plays are given in the open.
+If the performance takes place in the daylight, there is no difficulty
+as to artificial lighting; but if it is at night, then a flood-light
+must cover the stage. This is placed toward the back, or else behind the
+audience.
+
+Shakespeare is seen at his best with the simple background. A sort of
+cyclorama may be constructed by using curtains hung at the back of the
+stage, upon which is thrown light from one place: behind the proscenium
+arch, from above, or from one of the sides. Suppose that "The Comedy of
+Errors" is the play to be performed. The first scene of the first act is
+"_A hall in the Duke's palace_." This, of course, should be printed on
+the program, but on the stage all that is needed is a suggestion or two,
+like a gilded chair, and a painted white bench or two. These are not
+needed in the action, but they serve to create an atmosphere. The second
+scene is "_A public place_." Absolutely no "props" or furniture are
+needed; indeed, their very absence indicates the "place." The first
+scene of the second act is the same. The curtains around the stage must
+be made in sections, in order to allow the actors to enter and exit
+through them. The lines are always sufficient to indicate where a person
+is coming from or going to. In the first scene of the third act, Dromio
+of Syracuse says:
+
+    DRO. S. (_within_). Mome, malt-horse, capon, coxcomb, idiot, patch!
+    Either get thee from the door, or sit down at the hatch:
+    Dost thou conjure for wenches, that thou call'st for such store,
+    When one is one too many? Go, get thee from the door.
+
+A house is evidently intended to be represented, but it is not necessary
+that we see it: Dromio of Syracuse can speak from behind the curtain.
+The convention will readily be accepted. Nor is it necessary to
+differentiate the various "public places", except for the sake of
+variety: perhaps a bench or two now and then will accomplish this
+purpose. And when, in the first scene of the fifth act, the public place
+is "_before an abbey_", still there is no need of any definite set
+pieces. From time to time, doubtless some special article of furniture
+or set piece of some kind will be mentioned in the text, not elsewhere,
+in which case it can easily be supplied.
+
+This "Shakespeare-without-scenery" is not the only method by which
+Shakespeare can be performed, but it is the easiest and, if done with
+taste, the most effective.
+
+Let us now take rather a more difficult play, "Twelfth Night." The first
+scene of the first act is "_An apartment in the Duke's palace_." The
+Duke sits on a sort of throne or sofa. In Max Reinhardt's production of
+this play at the Deutsches Theater in Berlin, the set consisted simply
+of a semicircular lounge extending all the way across the stage. It was
+covered with dark blue plush; the hangings were of the same color. A
+warm yellow light directed from above flooded the stage.
+
+Either a throne or sofa for the Duke, then, and a few other chairs for
+the remaining characters, who sit down--the musicians stand--or else,
+following Reinhardt, a semicircular lounge. This is all. The second
+scene is "_The seacoast_." The stage is bare here. The third scene is
+"_A room in Olivia's house_." Different chairs or sofas and a throne for
+Olivia. The following scene is the same as scene one. The first scene of
+the second act is the seacoast once more. The next is "_A street_." No
+furniture. The third scene is "_A room in Olivia's house_"; evidently
+not the same as that in which Olivia first appeared. The room is
+probably in or near the wine cellar. A table, therefore, and three or
+four chairs, will not be amiss. The next is the same as in act one,
+scene one. The fifth scene of the second act is "_Olivia's garden_."
+Here the stage business requires a few definitely placed shrubs and a
+bench or two. The best arrangement of this scene is suggested in the
+diagram:
+
+                             [Illustration]
+
+Malvolio comes down-stage Center, while the others are hiding behind one
+of the benches, either Left or Right. These benches, as indicated in the
+diagram, are partially concealed by shrubs. Baytrees, planted in
+green-painted tubs, make especially good decorations. They can be used
+on many occasions, as will be shown later. Nor, in the case of the scene
+from "Twelfth Night", are they so high as to conceal the actors who are
+supposed to be hidden behind them. The following scene is the same. The
+second scene of the third act is the cellar room again. Following this
+is "_A street_"; then "_Olivia's garden_" once more. The next new scene
+is the first of the fourth act: "_A street before Olivia's garden_."
+Perhaps a little variety can be introduced in the shape of a shrub or
+two. The remaining scenes are repetitions of those already considered.
+
+The suggestions above given are extremely summary, but, if acted upon,
+will be seen to prove sufficient.
+
+2. Out-of-door scenes of a more elaborate character, in plays like
+Rostand's "The Romancers", often require more complicated sets; they may
+still be produced with the most elementary sort of background, however.
+The stage directions of this play are as follows:
+
+    SCENE: _The stage is divided by an old wall, covered with vines
+    and flowers._ _At the right, a corner of_ =BERGAMIN'S= _park is
+    seen; at the left, a corner of_ PASQUINOT'S. _On each side of
+    the wall, and against it, is a rustic bench._
+
+This is set in the following manner:
+
+                             [Illustration]
+
+The background hangings may be of tan burlap or else dark green. Gaps,
+covered by the folds, must be made up- and down-stage to allow the
+actors to enter and leave the stage. The wall must be constructed of
+solid wood, in order to support the actors, and painted to suggest
+bricks. There is a rustic bench against each side of the wall. Though
+they are not mentioned in these preliminary directions, there are other
+rustic benches, down-stage to the extreme right and left. These are used
+later in the act.
+
+In the second act, "_the wall has disappeared_. _The benches which were
+formerly against it, are removed to the extreme right and left._ [The
+extra benches mentioned in the first act have of course been removed.]
+_There are a few extra pots of flowers and two or three plaster statues.
+To the right is a small garden table, with chairs about it._" This scene
+is set as follows:
+
+                             [Illustration]
+
+The third act stage directions are: "_The scene is the same except that
+the wall is being rebuilt. Bricks and sacks of plaster lie about_." A
+few bricks may serve to indicate the partly finished wall.
+
+Since the scene of this play is laid at first in parks, there ought to
+be some suggestion as to this fact. Here bay- or box-trees can be used.
+Perhaps three or four should be arranged more or less symmetrically at
+the back of the stage, and as many to the right and left, down-stage.
+One or two can be added, close to the wall. This is all that is
+absolutely necessary.
+
+The foregoing remarks have been applied largely to romantic plays, but
+what is to be done in modern realistic pieces? There are two courses
+open, besides the conventional one (using box sets):
+
+The first method is to use the regular hangings as before and set a few
+needful articles of furniture about the stage. This is not realistic,
+but there are many realistic plays which can be produced without
+correspondingly realistic settings. Of course, where windows are
+referred to and used, there must be real windows, and where a character
+is directed to hang a picture on a wall, there must be a wall. However,
+there are many realistic plays where box sets are not required. Hermann
+Sudermann's "The Far-away Princess" is a case in question. The author
+has definitely suggested a certain setting for the play, but as his
+suggestions are not absolutely essential they may be modified. The
+directions are:
+
+    "_The veranda of an inn. The right side of the stage and half of
+    the background represent a framework of glass enclosing the
+    veranda. The left side and the other half of the background
+    represent the stone walls of the house. To the_ _left, in the
+    foreground, a door; another door in the background, at the left.
+    On the left, back, a buffet and serving table. Neat little
+    tables and small iron chairs for visitors are placed about the
+    veranda. On the right, in the centre, a large telescope,
+    standing on a tripod, is directed through an open window._ ROSA,
+    _dressed in the costume of the country, is arranging flowers on
+    the small tables_. FRAU LINDEMANN, _a handsome, stoutish woman
+    in the thirties, hurries in excitedly from the left_."
+
+If the dramatist's stage directions are implicitly followed, a realistic
+set will be required. The scene as set according to the diagram, has,
+however, often been used:
+
+                             [Illustration]
+
+Once more, the little shrubs may be used in order to give an atmosphere
+of outdoors.
+
+Or, to take an example of a "modern-interior" play in which the same
+conventionalized scenery may be used to advantage--Alfred Capus'
+"Brignol and his Daughter" (published by French) is set as follows:
+
+    SCENE: _An office, fitted up with various articles of parlor
+    furniture--rather pretentious in appearance. To the right, a
+    table with letter-files, and a safe; beside the safe, a
+    bookshelf. At the back is the main entrance; there are other
+    doors, right and left, one opening upon a bed-room, the other
+    upon the parlor._
+
+Here the setting is so usual, so conventional, that no _actual_ room is
+required: merely the table, chairs, safe, etc., as called for. Of
+course, it is not imperative that such plays should be set in this
+manner: the arrangement with screens about to be described is usually
+the best way. The point here to be impressed is that realistic sets are
+not always required for realistic plays.
+
+3. By the introduction of screens--not to be confused with the large
+screens mentioned by Gordon Craig, however--practically any realistic
+play can be produced. The diagram below will afford some idea of the
+very simple principle:
+
+                             [Illustration]
+
+Three screens, about seven feet high, made in three sections, and
+covered with burlap or some similar material, are all that will usually
+be required on a moderately small stage. These can be set in various
+ways. If an ordinary room is called for, they may be set as in the above
+diagram.
+
+"Brignol and his Daughter" may be staged by using three screens (as in
+the diagram above): the opening at the back is the center door; the
+doors on the right and left are the openings left between the lower ends
+of the side screens and the inside of the proscenium arch. The furniture
+is set in this scene as it is required in the stage directions. If the
+proscenium opening is too large, then the grand drapery can be lowered
+to within two or three feet of the top of the screens, and the side
+screens, behind the sides of the proscenium arch, brought closer
+together. Behind the screens representing the room, burlap or a suitable
+substitute may be hung. To take concrete examples once more, the setting
+of the first act of "A Scrap of Paper" (the adaptation by J. Palgrave
+Simpson) is thus described in the text:
+
+    _Drawing-room in a French country house. Windows to the floor,
+    R.C._ [Right Center] _and L.C._ [Left Center], _at back, looking
+    out on gardens and park. The window L.C. is at first closed in
+    with barred Venetian shutters. The window R.C. opens on the
+    garden. Fireplace, C._ [Center] _between the windows, surmounted
+    by a mirror. On each side of the mirror is a bracket, within
+    reach of the hand; the one R. supporting a statuette of_ FLORA,
+    _the other, L., empty. Doors, R. 2 E_ [See diagram] _and L. 2 E.
+    Sofas R. and L. up-stage. At C. of stage is a round table, with
+    a lamp, and an embroidery frame, a book and other objects
+    scattered upon it in great disorder. Chairs R. and L. of table.
+    Arm chairs R.C. and L.C., downstage. The furniture is to be rich
+    but old-fashioned, and a little worn. Carpet down._
+
+Five screens are here required: one at the back, behind the fireplace;
+and two on each side of the stage. Only two of the three folding
+sections of each are used.
+
+                             [Illustration]
+
+The fireplace must be "practical"--that is, it must have a wooden
+framework. In case a mirror is desired, it can be lower than a mirror
+usually is, and made of mosquito netting, to avoid reflections. A very
+few pictures may be hung on the screens. The hangings at the back of the
+stage--masking the bare walls--are of the same sort as have been
+described before, but the color of the screens must harmonize with them.
+
+With such a background, and by means of screens, shrubs, and a few
+necessary set pieces, like the wall in the Rostand play, the author has
+seen a dozen widely different plays produced by amateurs, in not one of
+which was the slightest noticeable discrepancy or anything that would
+shock even the theatergoer who is accustomed to the elaborate and often
+unnecessary settings of David Belasco.
+
+As may be easily imagined, the possibilities of variation upon these
+simple settings are infinite. Experimentation, as always, will reveal
+new fields.
+
+                               * * * * *
+
+Before closing the chapter, a word may be said of the flat background
+near the curtain line. About four or five feet behind the curtain
+line--_i.e._ the place where the curtain falls to the stage--hang a
+drop, either of burlap, or else a white drop like that used in
+stereopticon lectures. This, either played upon by lights in "the
+house", or from behind the stage, forms a striking background for scenes
+of pantomime, a street--as in "Twelfth Night"--a wall, a forest, almost
+anything. Such a screen was most effectively used in one scene of
+Reinhardt's production of "Sumurûn." A still more striking effect was
+achieved in a performance of "Peer Gynt" at the Lessing Theater in
+Berlin. The scene was the one in which Peer Gynt is before the pyramid
+in Egypt. About five feet behind the curtain line a white screen was
+dropped. Diagonally across this screen was thrown a dark purple light,
+while over the remaining space a saffron yellow played. That was all,
+but the suggestion of the vast shadow of the pyramid and the yellow
+sunlight and the yellow sands of Egypt was far more impressive than any
+_representation_ of the pyramid and desert could be.
+
+In case the effect of a distant city is desired, then another (darker
+and thicker) cloth, cut to represent the outlines of buildings and the
+like, can be sewed against the drop, thus producing the effect of a
+silhouette.
+
+In fine, the whole problem of staging resolves itself into this: achieve
+your effects in as simple a way as possible; suggest, do not try to
+represent; scenery, which ought indeed to be a delight to the eye, is
+after all only background. Experiment, but never hesitate to ask the
+advice of those who know the basic principles of color, line, and form,
+as well as those who have technical knowledge of every branch of the art
+and craft of the theater.
+
+=Costumes.= In his introductory remarks to "The Romancers", Rostand says
+that the action may take place anywhere, "provided the costumes are
+pretty." This is the basis of the few brief remarks to be made here on
+the subject of costumes. It must not be concluded, however, that any
+costumes may be used on any occasion. A modern play must have modern
+costumes--except in such plays as "The Blue Bird" and "Chantecler"--and
+a "period play" must at least approximate in spirit the age in which the
+action transpires. But it makes little difference whether Hamlet wears a
+tenth or eleventh century Danish costume, or one of the age of
+Elizabeth. It is a well-known fact that in Shakespeare's days there was
+little or no regard for historical accuracy in costumes, and that even
+in the historical plays the actors wore contemporary clothes. The point
+to be impressed is not that we should play "Julius Cæsar" in dress
+clothes, but that such discrepancies as were allowed in Elizabethan days
+could not have made very much difference, and that nowadays it is not
+worth while to spend too much time over details. In Greek plays it is
+well to use Greek costumes, because we have long been accustomed to
+associate some sort of archeological detail with plays of a certain age;
+and besides, Greek costumes are beautiful. But, and this is of great
+importance, do not strive to be historically exact: so long as costumes
+are beautiful and harmonize with the setting, and so long as they are
+not absurd or too much out of harmony with the play, they are good.
+There are numerous exceptions. Where a play definitely calls for a
+distinct atmospheric setting--like Bennett and Knoblauch's
+"Milestones"--then the utmost effort must be made to obtain correct
+costumes and setting. But the reason why the first act of this play
+requires historical accuracy is that the audience knows very well what
+mid-Victorian clothes are like. If the play were given in the year 2500
+A.D., it is safe to say that Elizabethan or Queen Anne costumes might do
+just as well.
+
+However, historical accuracy, when it can be obtained as easily as not,
+is never superfluous.
+
+
+
+
+                             [Illustration]
+
+[Illustration: TWO VIEWS OF THE STAGE AT THE UNIVERSITY OF
+NORTH DAKOTA.
+
+(Courtesy of Frederick H. Koch).]
+
+
+
+
+                               CHAPTER X
+
+                    SELECTIVE LISTS OF AMATEUR PLAYS
+
+
+The following lists, which do not pretend to completeness, will at least
+be found helpful in assisting amateur organizations to choose
+"worth-while" plays. The general headings "Classic", etc, are clear, but
+the following explanations must be made regarding the other markings:
+
+An asterisk (*) indicates that the play is in one act. Those not so
+marked are in more than one act, and are in most cases "full length."
+
+The letter "S" denotes serious or tragic plays, intended in nearly every
+case for advanced amateurs.
+
+The letter "R" denotes plays of a romantic and poetic nature.
+
+The letter "C" denotes comedies, farces, and plays in lighter vein.
+
+The letter "F" in parenthesis after the title indicates that a fee is
+charged for production by amateurs. The publisher or agent (see
+footnotes), must be consulted for particulars.
+
+The letter "D" denotes modern dialect plays, like those of Lady Gregory.
+Most of these plays are included under the general heading of "Classic"
+because the costumes and setting, though they may be modern, are not the
+familiar modern costumes and settings.
+
+All plays not included in the first division "_Classics, including
+modern costume and historical plays_" are to be found in the second
+division: "_Modern plays._"
+
+It is nearly always unwise for an amateur organization to take a play on
+faith; it is therefore advisable for it to collect a library of amateur
+plays, from which successive generations of members can at least form
+some judgment of the field from which they are to select their plays.
+
+This list makes no pretence to completeness. It has been the writer's
+purpose merely to mention a number of classic and standard plays which
+amateurs can produce without too great difficulty.
+
+
+                             [Illustration]
+
+[Illustration: SCENES FROM EURIPIDES' "ELECTRA". PRODUCED AT ILLINOIS
+STATE COLLEGE.
+
+(Courtesy of Rollin H. Tanner).]
+
+
+        CLASSICS, INCLUDING MODERN COSTUME AND HISTORICAL PLAYS
+
+
+Greek
+
+    RS  Euripides, _Alcestis_ (Samuel French; Walter H. Baker)
+
+    RS  Sophocles, _Antigone_ (Samuel French; E. P. Dutton, in
+            Everyman's Library)
+
+    RC  Aristophanes, _The Clouds_ (Macmillan; "The Drama", Victorian
+            edition)
+
+    C   _Lysistrata_ (Samuel French. Another version, by Laurence
+            Housman, published by The Woman's Press, London)
+
+
+Latin
+
+    C   Plautus, _The Twins_ (Samuel French)
+
+    C   Terence, _Phormio_ (Samuel French)
+
+
+Spanish
+
+    RC  Lope de Vega, _The Dog in the Manger_ ("The Drama",
+        Victorian edition)
+
+    RC  Calderon, _Keep Your Own Secret_ (Macmillan)
+
+    RC  Benavente, _The Bonds of Interest_ (in "The Drama", No. 20)
+
+
+Italian
+
+    RC  Goldoni, _The Fan_ (Yale Dramatic Association)
+
+    RC      _The Beneficent Bear_ (Samuel French)
+
+    RC      _A Curious Mishap_ (McClurg)
+
+    RCD     _The Squabbles of Chioggia_ ("The Drama", August, 1914)
+
+    R*  Giacosa, _The Wager_ (Samuel French)
+
+
+French
+
+    C   Bruëys (adaptor of 15th century anonymous), _Master
+            Patelin, Solicitor_ (Samuel French)
+
+    C   Molière, _The Merchant Gentleman [Le Bourgeois
+            Gentilhomme]_ (Samuel French; Little, Brown; Bohn Library,
+            etc.)
+
+    C*      _The Affected Young Ladies [Les Précieuses ridicules]_
+
+    C       _The Sicilian_
+
+    C*      _Doctor Love [L'Amour Médecin]_
+
+    C*      _The Doctor in Spite of Himself [Le Médecin malgré lui]_
+
+    C       _The Imaginary Invalid [Le Malade imaginaire]_ (Samuel
+            French; Little, Brown; Bohn Library; Putnam, etc., publish
+            the above five titles)
+
+    C*  Dancourt, _Woman's Craze for Titles_ (in "The Drama";
+            Historical Publishing Company, 1903, vol. viii.)
+
+    C*  Le Sage, _Crispin, His Master's Rival_ (Samuel French)
+
+    CR* Marivaux, _The Legacy_ (Samuel French)
+
+    CR  De Musset, _Fantasio_ (Dramatic Publishing Company)
+
+    CR*     _The Green Coat_ (Samuel French)
+
+    C   Augier, _M. Poirier's Son-in-law [Le Gendre de M.
+        Poirier]_ (in "Four Plays by Emile Augier", published by
+        Alfred A. Knopf, and in "Chief European Dramatists",
+        published by Houghton Mifflin)
+
+    CR* Banville, _Gringoire_ (Dramatic Publishing Company;
+        Samuel French)
+
+    CR*    _Charming Léandre_ (Samuel French)
+
+    C   Sardou, _A Scrap of Paper_ [_Les Pattes de mouche_]
+        (Samuel French)
+
+    CR      _The Black Pearl_ (Samuel French)
+
+    CR* Feuillet, _The Fairy_ (Samuel French)
+
+    CR* Rivoire, _The Little Shepherdess_ (Samuel French)
+
+    CR  Rostand, _The Romancers_ (Samuel French; Walter H.
+        Baker; Heinemann)
+
+    C*  France, _The Man Who Married a Dumb Wife_ (Lane) (F)
+
+    C*  Picard, _The Rebound_ (Samuel French)
+
+    CR  Zamacois, _The Jesters_ (Brentano) (F)
+
+    SR* Bouchor, _A Christmas Tale_ (Samuel French)
+
+    CR* Coppée, _The Violin-Maker of Cremona_ (Samuel French)
+
+    SR*      _Pater Noster_ (Samuel French)
+
+    SR* Theuriet, _Jean-Marie_ (Samuel French)
+
+
+Danish
+
+    C   Holberg, _The Loquacious Barber_ ("The Drama", Victorian
+        edition)
+
+    C       _Captain Bombastes Thunderton_ (in "Three Comedies by
+            Ludvig Holberg", published by Longmans) (Requires cutting)
+
+    CR  Hertz, _King René's Daughter_ (Samuel French)
+
+
+German
+
+    CR  Lessing, _Minna von Barnhelm_ (in Bohn Library,
+        Macmillan)
+
+    C   _The Scholar_ (in Bohn Library)
+
+    C   Schiller, _Nephew or Uncle_ (Walter H. Baker)
+
+
+English
+
+    S   Anonymous,  _Everyman_  (Everyman's Library; Dutton)
+
+    R   Lyly, _Alexander and Campaspe_ (Scribner, and in
+        Everyman's Library) (Requires cutting)
+
+    R   Greene, _Friar Bacon and Friar Bungay_ (Dutton) (Requires
+        cutting)
+
+    CR  Beaumont and Fletcher, _The Knight of the Burning Pestle_
+        (Scribner; Everyman's Library; etc.) (Requires cutting)
+
+    CR  Dekker, _Old Fortunatus_ (Scribner) (Requires cutting)
+
+    CR _The Shoemaker's Holiday_ (Scribner; Dutton) (Requires
+        cutting)
+
+    CR  Heywood _The Fair Maid of the West_ (Scribner) (Requires
+        cutting)
+
+    SR  Jonson, _The Sad Shepherd_ (Dutton) (Requires cutting)
+
+    CR  _The Case is Altered_ (in any complete set of Ben Jonson)
+        (Requires cutting)
+
+        Shakespeare (no plays need be mentioned. The "Ben Greet
+        Shakespeare for Amateurs" contains good directions for
+        staging and acting)
+
+    C   Udall, _Ralph Roister Doister_ (Macmillan; Dent) (Requires
+        cutting)
+
+    CR  Goldsmith, _The Good-natured Man_ (in any edition of
+        Goldsmith's plays)
+
+    CR  _She Stoops to Conquer_ (in any edition of Goldsmith's
+        plays)
+
+    CR  Sheridan, _The Rivals_ (in any edition of Sheridan's
+        plays)
+
+    C   _The School for Scandal_ (in any edition of Sheridan's
+        plays)
+
+    C   _The Critic_ (in any edition of Sheridan's plays)
+
+    CR  Pinero, _Trelawney of the 'Wells'_ (Dramatic Publishing
+    Company) (F)[12]
+
+        [12] Apply to Sanger & Jordan, 1432 Broadway, New York, for
+            acting rights.
+
+    CR  Housman, _A Chinese Lantern_ (Dramatic Publishing
+        Company) (F)
+
+    CR*     _Bird in Hand_ (Samuel French) (F)
+
+    SRD*    _A Likely Story_ (Samuel French) (F)
+
+    CR*     _As Good as Gold_ (Samuel French) (F)
+
+    SRD*    _The Snow Man_ (Samuel French) (F)
+
+    SR*     _Nazareth_ (Samuel French) (F)
+
+    SR*     _The Lord of the Harvest_ (Samuel French) (F)
+
+    SR*     _The Return of Alcestis_ (Samuel French) (F)
+
+    CR      (and Barker), _Prunella_ (Little, Brown) (F)
+
+    CR  Shaw, _The Devil's Disciple_ (Brentano) (F)[13]
+
+    CR  Parker, _Pomander Walk_ (Samuel French) (F)
+
+    CR* Barrie, _Pantaloon_ (Scribner) (F)[13]
+
+        [13] Apply to American Play Company, 33 West 42nd St., New
+            York.
+
+    CR  Bennett and Knoblauch, _Milestones_ (Doran) (F)
+
+    CR  Noyes, _Sherwood_ (Stokes) (F)
+
+    CR  Tennyson, _The Princess_ (in any complete edition of
+    Tennyson)
+
+    CR      _The Foresters_ (in any complete edition of
+            Tennyson)
+
+    SR*     _The Falcon_ (in any complete edition of Tennyson)
+
+    R*  Lord Dunsany, _The Gods of the Mountain_ (Little, Brown)
+        (F)
+
+    CR*     _The Lost Silk Hat_ (Little, Brown) (F)
+
+    CRD*    _The Glittering Gate_ (Little, Brown) (F)
+
+    R       _King Argimenes and the Unknown Warrior_ (Little,
+            Brown) (F)
+
+    RS* Yeats, _The Land of Heart's Desire_ (Macmillan; Samuel
+    French)
+
+    CD*     _The Pot of Broth_ (Macmillan) (F)[14]
+
+    RS*     _Deirdre_ (Macmillan) (F)[14]
+
+    RS*     _The King's Threshold_ (Macmillan) (F)[14]
+
+        [14] Apply to Samuel French, 28 West 38th St., New York.
+
+    CRD* Lady Gregory, _The Rising of the Moon_ (Putnam) (F)[15]
+
+    CD*     _The Workhouse Ward_ (Putnam) (F)[15]
+
+    SRD*    _The Travelling Man_ (Putnam) (F)[15]
+
+    CD*     _Spreading the News_ (Putnam) (F)[15]
+
+    CD*    _The Jackdaw_ (Putnam) (F)[15]
+
+    CD*    _Hyacinth Halvey_ (Putnam) (F)[15]
+
+    SD* Hyde, _The Lost Saint_ (Scribner)
+
+    SD*     _The Twisting of the Rope_ (Poet Lore)
+
+    CD* Mayne, _The Turn of the Road_ (Luce) (F)
+
+    CD      _The Drone_ (Luce) (F)
+
+    SD* Synge, _The Shadow of the Glen_ (Luce) (F)[15]
+
+    CD  Boyle, _The Building Fund_ (Gill, Dublin) (F)
+
+    RC* Downs, _The Maker of Dreams_ (Samuel French) (F)[15]
+
+
+Sanskrit
+
+    SR  Kalidasa, _Sakountala_ (Walter Scott, London; and
+        Everyman's Library)
+
+
+Bengali
+
+    RS  Tagore, _The Post-Office_ (Macmillan) (F)[15]
+
+        [15] Apply to Samuel French, 28 West 38th St., New York.
+
+
+MODERN PLAYS (NINETEENTH AND TWENTIETH CENTURIES, IN WHICH THE COSTUMES
+AND SETTINGS ARE MODERN)
+
+
+Italian
+
+    S   Giacosa, _As the Leaves_ (in "The Drama No. 1, and by
+        Little, Brown)
+
+    S       _The Stronger_ (in "The Drama", May, 1913, and by Little,
+            Brown)
+
+
+French
+
+    C*  Augier, _The Post-Script_ (Samuel French, and in "Four
+        Plays by Emile Augier", Alfred A. Knopf)
+
+    SC      _The House of Fourchambault_ (Samuel French, and in
+        "Four Plays by Emile Augier", Alfred A. Knopf)
+
+    CR* Meilhac and Halévy, _Indian Summer_ (Samuel French)
+
+    CR*     _Panurge's Sheep_ (Samuel French)
+
+    CR* Feuillet, _The Village_ (Samuel French)
+
+    C*  Labiche, _The Two Cowards_ (Samuel French)
+
+    C*      _Grammar_ (Samuel French)
+
+    C   Pailleron, _The Art of Being Bored_ (Samuel French)
+
+    C*  Bernard, _French Without a Master_ (Samuel French)
+
+    C*      _I'm Going!_ (Samuel French)
+
+    C*  Donnay, _They!_ (In "Lovers, The Free Woman, and They!"
+        (Little, Brown)
+
+    S   France, _Crainquebille_ (Samuel French)
+
+    C*  Maurey, _Rosalie_ (Samuel French)
+
+    C*  Hervieu, _Modesty_ (Samuel French)
+
+    S   Capus, _The Adventurer_ ("The Drama", November, 1914)
+
+    C   _Brignol and his Daughter_ (Samuel French)
+
+    C*  Caillavet, _Choosing a Career_ (Samuel French)
+
+
+German
+
+    SC  Freytag, _The Journalists_ ("The Drama", February, 1913)
+
+    RC* Sudermann, _The Far-Away Princess_ (in "Roses", Scribner,
+        and separately, by Samuel French) (F)
+
+    S*      _Fritzchen_ (in "Morituri", Scribner)
+
+    C*  Benedix, _The Law-Suit_ (Samuel French)
+
+    C*      _The Third Man_ (Samuel French)
+
+    C*  Gyalui, _After the Honeymoon_ (Samuel French)
+
+
+Scandinavian
+
+    S*  Strindberg, _The Stronger_ (Scribner) (F)
+
+    SB  _Lucky Pehr_ (Stewart and Kidd) (F)
+
+    SC  Björnson, _The Newly-Married Couple_ (Everyman's Library;
+        Dutton)
+
+    C   _Love and Geography_ (Scribner)
+
+    S   Ibsen, _An Enemy of the People_ (Scribner)
+
+
+Russian
+
+C*  Tchekoff, _The Boor_ (Samuel French; Scribner)
+
+C*      _A Marriage Proposal_ (Samuel French; Scribner)
+
+C*      _The Tragedian in Spite of Himself_ (Scribner)
+
+C*  Andreyev, _The Dear Departing_ (Henderson, London), and
+    [same play] _Love of One's Neighbor_ (Boni, New York)
+
+
+English
+
+    C   Pinero, _The Schoolmistress_ (Walter H. Baker) (F)
+
+    C       _The Magistrate_ (Walter H. Baker) (F)
+
+    CS      _The Benefit of the Doubt_ (Dramatic Publishing
+            Company) (F)
+
+    C       _The Amazons_ (Walter H. Baker) (F)
+
+    C       _Dandy Dick_ (Walter H. Baker) (F)
+
+    C   Jones, _The Manoeuvres of Jane_ (Samuel French) (F)
+
+    CS      _The Liars_ (Samuel French) (F)
+
+    C       _Dolly Reforming Herself_ (Samuel French) (F)
+
+    C   Wilde, _The Importance of Being Earnest_ (Walter H.
+        Baker; Nichols; Luce; Putnam; and French)[16]
+
+    C*  Sutro, _The Bracelet_ (Samuel French; Brentano)
+        (F--Samuel French)
+
+    C*  Sutro, _The Man on the Kerb_ (Samuel French; Brentano)
+        (F--Samuel French)
+
+    C*      _A Marriage Has Been Arranged_ (Samuel French;
+            Brentano) (F--Samuel French)
+
+    CR* Barrie, _The Will_ (Scribner) (F)[16]
+
+    CR*     _The Twelve-Pound Look_ (Brentano) (F)[16]
+
+        [16] Apply to Sanger & Jordan.
+
+    CR      _The Admirable Crichton_ (Doran) (F)[17]
+
+    CR      _Quality Street_ (Doran) (F)[17]
+
+        [17] Apply to Sanger & Jordan.
+
+    C   Shaw, _You Never Can Tell_ (Brentano) (F)[18]
+
+    CR      _Candida_ (Brentano) (F)[18]
+
+    C*      _Press Cuttings_ (Brentano) (F)[18]
+
+    C*      _How He Lied to Her Husband_ (Brentano) (F)[18]
+
+    CR      _Arms and the Man_ (Brentano) (F)[18]
+
+        [18] Apply to American Play Co.
+
+    S   Barker, _The Voysey Inheritance_ (Little, Brown) (F)
+
+    SC  Bennett, _What the Public Wants_ (Doran) (F)
+
+    RC      _Milestones_ (Doran) (F)
+
+    S       _Cupid and Commonsense_ (Doran) (F)
+
+    C       _The Great Adventure_ (Doran) (F)
+
+    C*      _Polite Farces_ (Doran) (F)
+
+    S   Baker, _Chains_ (Luce) (F)
+
+    S*  Gibson, _Mates_ (Macmillan) (F)
+
+    S*      _On the Road_ (Macmillan) (F)
+
+    C   Hankin, _The Cassilis Engagement_ (Samuel French) (F)
+
+    C       _The Return of the Prodigal_ (Samuel French) (F)
+
+    C       _The Charity that Began at Home_ (Samuel French) (F)
+
+    C*  Houghton, _The Dear Departed_ (Samuel French) (F)
+
+    C*      _The Fifth Commandment_ (Samuel French) (F)
+
+    C*      _Phipps_ (Samuel French) (F)
+
+    SC  Houghton, _Independent Means_ (Samuel French) (F)
+
+    S   Galsworthy, _The Silver Box_ (Scribner) (F)[19]
+
+    C      _Joy_ (Scribner) (F)[19]
+
+    SC  Hamilton, _Just to Get Married_ (Samuel French) (F)
+
+    SC* Chapin, _Augustus in Search of a Father_ (Gowans and
+        Grey, London) (F)
+
+    DCR* Brighouse, _Lonesome Like_ (Samuel French) (F)
+
+    SD*     _The Price of Coal_ (Samuel French) (F)
+
+    C   Monkhouse, _The Education of Mr. Surrage_ (Sidgwick and
+        Jackson, London) (F)
+
+    C   Mason, _Green Stockings_ (Samuel French) (F)
+
+    SD  Ervine, _Jane Clegg_ (Holt) (F)
+
+    DCR* Fenn and Pryce, _'Op o' me Thumb_ (Samuel French) (F)
+
+
+American
+
+    S   Gillette, _Secret Service_ (Samuel French) (F)
+
+    S       _Held by the Enemy_ (Samuel French) (F)
+
+    C       _Too Much Johnson_ (Samuel French) (F)
+
+    C   MacKaye, _Anti-Matrimony_ (Stokes) (F)
+
+    C   Thomas (A. E.), _Her Husband's Wife_ (Doubleday, Page)
+        (F)[19]
+
+        [19] Apply to Samuel French for producing rights.
+
+    S*  Middleton, _The Failures_ (Holt) (F)[20]
+
+    S*      _The Groove_ (Holt) (F)[20]
+
+    S*      _Tradition_ (Holt) (F)[20]
+
+        [20] Apply to Samuel French for producing rights.
+
+    C*  Macmillan, _Short Plays_ (Stewart and Kidd) (F)
+
+    C  Forbes, _The Commuters_ (Samuel French) (F)
+
+    C       _The Traveling Salesman_ (Samuel French) (F)
+
+    S   Klein, _The Lion and the Mouse_ (Samuel French) (F)
+
+    R   Thomas, _Arizona_ (Dramatic Publishing Company) (F)
+
+    RD      _Alabama_ (Dramatic Publishing Company) (F)
+
+    C       _Mrs. Leffingwell's Boots_ (Samuel French) (F)
+
+    C       _The Other Girl_ (Samuel French) (F)
+
+    C       _Oliver Goldsmith_ (Samuel French) (F)
+
+    C       _The Earl of Pawtucket_ (Samuel French)(F)
+
+    C       _The Capitol_ (Samuel French) (F)
+
+
+                       COLLECTED VOLUME OF PLAYS
+
+1. _Representative One-Act Plays by American Authors_, edited by
+Margaret G. Mayorga (Little, Brown), contains a large number of suitable
+plays for amateurs. Among these are:
+
+    R*  _Sam Average_, by Percy MacKaye (F)
+
+    R*  _Six Who Pass While the Lentils Boil_, by Stuart Walker
+        (F)
+
+    S*  _In the Zone_, by Eugene O'Neill (F)
+
+    R*  _The Wonder Hat_, a Harlequinade by Ben Hecht and Kenneth
+        Sawyer Goodman (F)
+
+    C*  _Suppressed Desires_, by George Cram Cook and Susan
+        Glaspell (F)
+
+    S*  _The Last Straw_, by Bosworth Crocker (F)
+
+2. _Representative One-Act Plays by British and Irish Authors_, edited
+by Barrett H. Clark (Little, Brown), contains, among others, the
+following plays suited to the requirements of amateurs:
+
+    R*  _The Widow of Wasdale Head_, by Arthur Pinero (F)
+
+    C*  _Rococo_, by Granville Barker (F)
+
+    R*  _The Snow Man_, by Lawrence Housman (F)
+
+    C*  _Fancy Free_, by Stanley Houghton (F)
+
+3. _Fifty Contemporary One-Act Plays_, edited by Frank Shay and Pierre
+Loving (Stewart-Kidd), includes the following plays for amateurs:
+
+    C*   _Literature_, by Arthur Schnitzler (F)
+
+    C*  _Françoise' Luck_, by Georges de Porto-Riche (F)
+
+    S*  _Mary's Wedding_, by Gilbert Carman (F)
+
+    C*  _A Sunny Morning_, by the Quinteros (F)
+
+
+
+
+                               APPENDICES
+
+
+                               APPENDIX I
+
+                         COPYRIGHT AND ROYALTY
+
+The following statement regarding royalties on amateur plays was
+prepared by Mr. Allen J. Carter, an attorney of Chicago, for one of the
+Drama League pamphlets listing amateur plays:
+
+    "The copyright law of the United States requires that every
+    play, whether published or unpublished, for which copyright
+    protection is claimed, must be registered in the copyright
+    office at Washington, D.C. Until such registration, no action
+    for infringement of copyright can be maintained. The register of
+    copyrights keeps a complete record and index of all copyright
+    entries and publishes a catalogue of such entries at regular
+    intervals. Dramatic works are entered under Class D and are
+    found indexed under that heading in Part I, Group II of the
+    catalogues. Copies of these catalogues are on file in most of
+    the larger public libraries, and sets or parts of sets may be
+    purchased from the Superintendent of Public Documents at
+    Washington, D.C. Anyone wishing to learn whether a particular
+    play has been properly entered for copyright need only consult a
+    set of these catalogues. If such a set is not available, the
+    information will be promptly furnished by the register of
+    copyrights, Washington, D.C, upon request.
+
+    "Whenever a play has been published, examination of a copy of an
+    authorized printed edition will disclose whether such play has
+    been properly copyrighted. The law requires that a notice of
+    copyright must be placed either upon the title page, or upon the
+    page immediately following, of each copy published or offered
+    for sale in the United States. Such notice must consist either
+    of the word 'Copyright' or the abbreviation 'Copr.', accompanied
+    by the name of the copyright proprietor and the year in which
+    copyright was secured by publication. If published prior to
+    March 4, 1909, the notice may also be in the following form:
+    'Entered according to Act of Congress in the year ----, by A. B.
+    in the office of the Librarian of Congress at Washington.'
+    Whenever the author of a play or anyone to whom he has assigned
+    his rights publishes such play without proper notice of
+    copyright in some one of the three authorized forms above
+    mentioned, the play then and forever after becomes the property
+    of the public and may be performed and printed at will by
+    anyone. No subsequent attempt to copyright such play would be
+    valid, and any valid copyright previously secured would be
+    vitiated.
+
+    "A play which has never been published nor offered for sale, and
+    which exists only in manuscript form, may be copyrighted upon
+    proper entry being made at the copyright office in Washington,
+    D.C. Should such play be later published, however, the
+    publication must comply with all the requirements of the law as
+    to notice of copyright.
+
+    "Any person who infringes the copyright in any play shall be
+    liable: (a) To an injunction restraining said infringement; (b)
+    to pay actual damages to the copyright proprietor, or in place
+    of actual damages $100.00 for the first infringing performance
+    and $50.00 for each succeeding one; (c) to imprisonment not to
+    exceed one year, or to a fine not to exceed $1,000.00, or both,
+    wherever such person has infringed such copyright wilfully and
+    for profit.
+
+    "It follows, therefore, that if any group of amateurs perform a
+    copyrighted play without having obtained the consent of the
+    author or copyright proprietor, they are collectively liable to
+    damages of at least $100.00 under whatever conditions the
+    performance is given. If they do it wilfully and for profit,
+    they are in addition each individually liable to fine and
+    imprisonment under the criminal provision of the act."
+
+
+                              APPENDIX II
+
+                           A NOTE ON MAKE-UP
+
+Make-up as an art and a science does not properly fall within the scope
+of the present volume. However, it has been thought advisable to insert
+at this place sections from an interesting paper on make-up by one who
+has made a thorough study of the subject. The author acknowledges his
+obligation to Miss Grace Griswold, who wrote the article, for permission
+to make this use of it.
+
+                       _How and Where Lines Come
+                             into the Face
+                           A Study in Make-up
+                                   by
+                            Grace Griswold_
+
+Nearly all great actors are masters of make-up. They must be, for the
+illusions of the stage are no less pictorial than those of painting and
+sculpture, with the added elements of movement and voice, all of which
+must be brought into working harmony with the thought and feeling of the
+part, in a perfect portrayal. Any serious incongruity in externals is
+felt at once, and destroys the illusion.
+
+Women have not done as much as men in facial transformation, except in
+the way of burlesque and grotesquerie. Women's make-ups, on the whole,
+are far more conventional. The female face is more difficult to change
+without revealing the tricks. Heavy furrows and deep coloring are
+possible only for low types. Men can effect great changes by the use of
+beards and moustaches. A woman's art must be far subtler.
+
+Look at the men across the way.[21] Notice their eyes. We always see the
+eyes first, although the mouth is a more unerring key to character. The
+mouth for emotions and impulses, and the eyes for thoughts. As the mouth
+is the gateway of the soul, so the eyes are its windows, but, like all
+windows, their function is rather to give light and view to the interior
+than to expose it to the impertinence of passers-by.... His level brows,
+which show him to be of a practical or scientific turn of mind, are
+deeply contracted. So much so, that not only are there two perpendicular
+lines between them, but one across the top of the nose as well. The
+heavy bone formation which the brows outline, indicates rare powers of
+observation. But this man has come a cropper. See how restless and
+unseeing are his eyes! He is searching for a solution to the problem
+which is troubling him. It is a purely intellectual problem, for the
+mouth, which is the indication of the emotions and passions, is
+unaffected by what is going on above. There is nothing sinister about
+the problem: you see that the eyes are wide open. Now it is settled,
+because he appears focussed: he is following a single line of thought.
+
+    [21] It was imperative that the long article be abridged. The
+        reference here is to Miss Griswold's first sentence: "... take
+        a ride with me in the subway, where we may perhaps glean some
+        impressions for character portrayal upon the stage."
+
+Now observe the man on the right. He too is thinking hard, but his mouth
+is drawn, jaws set, eyelids puckered to a mere slit. He has been
+wronged, or believes he has, and is planning retaliation. His nostrils
+are dilated, his breathing heavy. Both these men are laboring under
+excitement, but we cannot read their natures, because their habitual
+expression is distorted.
+
+Do you see that dear soul opposite? There is work behind that face, work
+that has brought with it health. There has been good living, but no
+intemperance. See the strong muscles and the glow in the cheeks, with
+their Santa Claus rotundity. There is passion, too, but it is
+restrained: the lips are full, but the center line is straight. With
+less control, that line would tend to sag. Melancholia is also indicated
+in downward lines. In the case of this woman, the lip is perhaps too
+heavy to show delicacy of character, but it shows broad sympathy, and is
+redeemed by its upper consort, which reveals, except at the corners, a
+cupid's bow, full of tenderness. The Venus de Milo hardly escapes
+censure even with the lateral shortness of the lower lip and the
+softened outlines of the upper. This woman's mouth is larger, denoting
+generosity. Now look at the eyes--open just to the degree of frankness,
+but not of insincerity, like those of the vapid young person across the
+way. There are radiations from the corners, too: the footprints of many
+a pleasant smile. The eyebrows have the sympathetic upward sweep toward
+the nose, and there is a whimsical twist of the left eyebrow.
+Altogether, a pleasant countenance.
+
+A perfectly straight compressed mouth always implies strength of will.
+
+Now notice the woman just beyond with her high-bred aristocratic face.
+The "executive" nose, with its delicate arch, are especially indicative
+of her character. The eyebrows likewise are arched, over a full
+forehead; very imaginative. The eyes, slightly veiled in their
+expression, show her to be plunged in deep and somewhat troubled
+thought. Her eyes are veiled because she does not see clearly a way out
+of her problem, but that way out will be, we are sure, something noble.
+Her problem is not so exclusively an intellectual one as that of the man
+we mentioned: it must be some economic or philanthropical question--her
+chin is finely chiselled and held with exquisite poise, strong and at
+the same time delicate. Her complexion has the "pale cast of thought",
+but is not unhealthy however. The flesh lies easily upon its firm base.
+It will never warp into deep furrows. See, now she has solved or put
+aside her problem, for a moment, and her eyes are open and clear, and
+her smile, as she recognizes a friend, is engaging and unaffected. Her
+sympathies are less personal, more detached, but none the less real,
+than other women's.
+
+And now see this man who has just entered. He, too, is an aristocrat,
+but as he turns, we can observe that there is a one-sided twist to his
+face. The bone formation in his face is similar to that of the woman's,
+but his expression is exaggerated by a muscular habit of the mouth,
+possibly occasioned by the loss of teeth. His eyes are open, but they
+express impassive coldness. He has taken life with a sneer. His brows
+are not arched, although one of them is artificially raised: the result,
+undoubtedly, of boredom.
+
+Habitual good-humor ages the face in a pleasant manner. It is the only
+thing that never grows old: do you remember what genial sparkling eyes
+Joseph Jefferson and Mark Twain had?
+
+Bearing in mind these summary character studies, let us turn to the more
+practical side of make-up:
+
+Regarding _straight_ make-up--_i.e._ make-up which is designed to offset
+the glare of the lights--it can safely be asserted that most
+professionals make-up too heavily. This is partially due to the fact
+that the lights in the dressing-room are seldom of like intensity or
+kind as those on the stage. Billie Burke and Blanche Ring occur to us as
+having achieved happy results in making-up, the former with a rose-bud
+prettiness of white and pink, the latter by using so little color and
+blending that little so well that it is scarcely perceivable. Both these
+actresses use very little rouge on the upper eyelids, an excess of which
+is one of the commonest faults. The only purpose it can serve is to
+soften the upward and whitening glare of the footlights. The skilful use
+of rouge is the most important and least understood of all the numerous
+elements of this art. First as to shade, most of the rouge used is blue.
+It does not blend with most powders, but produces a hard contrast, and
+appears unnatural. The placing of the rouge, too, is very important in
+obviating natural defects of proportion in the features, which distances
+always intensify. Any spot left white is projected as if with a
+high-light. If the nose is too wide, it can be narrowed by shading the
+rouge up to its center line. If it is too prominent, it will be less
+apparent if shaded slightly all over. The same rule applies to the chin,
+the jaw, the ears, and the forehead. Some people lay in a general
+foundation of grease rouge before putting anything else on, but this is
+likely to give a muddy effect. If used only on the cheeks, with the dry
+rouge over all for shading, the effect is far more natural. Some also
+lay in a foundation of pink paste--called "Exora"--but the result is
+nearly always pasty, and should never be used except to cover some
+blotchiness. The lighter the make-up, the greater opportunity will there
+be for mobility of expression.
+
+The same moderation should be exercised in making up the eyes and mouth.
+Brown on the lashes and eyebrows is softer than black, especially for
+blondes. Heavy black leading above and below, accentuated by broad
+shadows on the lids of dark blue, make them look like burnt holes a
+short distance away. Few eyes are large enough to stand it, and those
+that are, do not require it. A little light or dark blue close to the
+lashes of the upper lid is necessary, but very few eyes need any make-up
+at all on the lower lid, except a faint shadow, perhaps, of light blue.
+A little dab of lip rouge in the inner corners of the eye adds an effect
+of brilliancy. If the eye itself slants, it can be straightened by a
+line of brown or black, drawn in the opposite direction, and beginning
+just inside the outer corners. The line of the upper lids and the
+eyebrows should be extended in almost every case, to give an effect of
+breadth to the eyes.
+
+If the face needs lengthening and the eyebrows are not too heavy, they
+can be covered with flesh-colored grease paint, and another pair painted
+above them. There is danger in this, however, of opening the frame of
+the eyes too much and giving them a foolish expression. The arched brow
+tends to elongate, the level, broad effect to shorten, the face.
+
+The mouth also needs careful treatment. As to color: the dark red rouge
+so often used gives the appearance of a bloody gash. The English hunting
+red, a sort of bluish vermilion, is best, because most natural. Only the
+very smallest mouths can stand being made up to the corners, because in
+smiling, the mouth stretches, and will look too large if deeply colored
+all the way across.
+
+A line of white grease paint drawn down the bridge of the nose will
+straighten it; or, if it be too small, lengthen it. The nose may also be
+completely transformed by putty.
+
+This brings us to what is known as the "character" make-up. Here again
+one is confronted by numberless problems regarding the use of colors. At
+best, character make-up is only the adjustment of one physiognomy to the
+habitual expression of another: complete transformation is out of the
+question. Nevertheless, the human face, being mobile, may assume
+expressions which are not habitual to it. However, it must be borne in
+mind that to superimpose a purely imaginary countenance over a natural
+one, regardless of what that natural one is, is a fatal mistake, because
+when the natural face attempts to express itself under the other, the
+effect will be lost.
+
+To return a moment to the problem of color: illusion is frequently lost
+through a failure to adjust the shade of the high-light and shadow to
+the tone of the foundation grease paint, or natural complexion. The
+commonest offence is the use of an unmixed, unblended slate for shadows,
+and white, and high-lights, whether the underlying color be florid,
+sallow, pink, or pale flesh. The result of such treatment is merely
+paint.
+
+The whole art of making-up is still hide-bound by tradition, because of
+stupid ideals which persist in the minds of those whose business it is
+to direct, as well as many in the acting profession itself.
+
+
+
+
+                                 INDEX
+
+
+
+
+                                 INDEX
+
+
+  "Alcestis", 4
+
+  Aristophanes, 5
+
+  Art adviser, 17
+
+  "Art of Being Bored, The", 48
+    Quoted, 53, 54-57
+    Stage grouping of, 54-57
+
+  "As You Like It", 2
+
+
+  Backgrounds, 106-107
+
+  Barker, Granville, 6
+
+  Belasco, David, 89, 106
+
+  "Blocking out", 24, 61
+    Example of, 24-33
+
+  "Blue Bird, The", 108
+
+  "Box sets", 82, 89, 91, 100
+
+  "Brignol and His Daughter", Setting for, 102, 103
+
+  Business manager, Duties of, 11-12, 14
+
+
+  "Call Boy", Duty of, 16
+
+  Capus, Alfred, 102
+
+  Cast, Ability of, 2
+    Selection of, 19, 20
+    Size of, 2
+
+  "Chantecler", 108
+
+  Characterization by amateurs, 2, 3, 4
+
+  Cheney, Seldon, 76 (_Note_), 77
+
+  Classics, 2, 3, 4
+
+  "Clouds, The", 5
+
+  Coach, Selection of, 20, 21
+
+  Comedies, 4
+
+  "Comedy of Errors, The", 2, 3, 5
+    Setting for, 93-94
+
+  Costume man, Duties of, 10, 14, 15, 17
+
+  Costumes, 14-15
+    Accuracy of, 108-109
+
+  "Costumes and Scenery for Amateurs", 81
+
+  Craig, Gordon, 102
+
+  Crowds or large groups, Rehearsing of, 15, 58, 59
+
+  Curtain man, Duties of, 10
+
+  Cyclorama, 78-81, 84, 88
+    Construction of, 78, 79-80, 81
+    Description of, 78
+    Value of, 78
+
+
+  De Vega, Lope, 4
+
+  Deutsches Theater (Berlin), 95
+
+  Diagram, Making of, 40-46, 60
+
+  Director, Duties of, 8-10, 14, 16, 17, 20, 23, 24, 28, 34, 52, 58, 59,
+      64, 67, 73
+
+  "Doctor in Spite of Himself", 5
+
+  "Doll's House, A", 2
+
+  Draperies, 80, 83, 92, 98
+
+
+  "Electra", 4
+
+  Electrician, 13
+
+  Euripides, 4
+
+
+  "Fan, The", 5
+
+  "Far-away Princess, The", Setting for, 100-101
+
+  Farces, 4
+
+  Footlights, 86, 87, 89
+    Boxed, 84
+
+  Fortuny lighting system, 86, 88
+
+  Furniture, Handling and setting of, 15
+
+
+  Goldoni, 4, 5
+
+  Gregory, Lady, 90
+
+  Grouping actors, 48, 58, 59, 61
+    Examples of, 50-52, 53-57, 58-59, 63
+
+
+  "Hamlet", 4
+
+  Handling and setting of scenery and furniture, 15, 17
+
+
+  Imitation of Professionals, 68, 69
+
+  "Importance of Being Earnest, The", 3
+    "Blocked out", 28-34
+    Quoted, 24-28
+
+  "Indian Summer", Quoted, 71-72
+
+  Interpretation by amateurs, 69-70
+
+
+  Jones, Henry Arthur, 3, 46, 47, 48
+
+  "Julius Cæsar", Costumes of, 108
+    Grouping in, 58-59
+
+
+  Klein, Charles, 89
+
+  Kotzebue, 4
+
+
+  "Le Bourgeois Gentilhomme," 3,5
+
+  Lessing, 4, 5
+
+  Lessing Theater, Berlin, 107
+
+  "Liars, The", 3, 46, 47
+    Quoted, 46, 50
+    Stage grouping of, 49-52
+
+  Lighting, Stage, 76, 78-79, 85, 89
+    Examples of, 89, 90
+    Fortuny system of, 86, 88
+    Kinds of:
+      Arc, 88
+      Border, 86
+      Calcium, 88
+      Footlights, 84, 86, 87, 89
+
+  Lightman, Duties of, 10, 13-14, 15
+
+  "Lysistrata", 5
+
+
+  MacKay, Constance D'Arcy, 82
+
+  "Magistrate, The", 4
+
+  "Man and Superman", 4
+
+  "Marrying of Ann Leete, The", 6
+
+  "Merchant of Venice, The", 85
+
+  "Milestones", 109
+
+  "Minna von Barnhelm", 5
+
+  "Modern Movement in the Theatre, The", 76 (_Note_)
+
+  Modern plays, 4, 6
+
+  Moderwell, Hiram Kelly, 76 (_Note_), 77
+    Quoted, 86-87
+
+  Modulation, Example of, 71-72
+
+  Molière, 3, 4, 5
+
+  Music, 15, 17
+
+  "Music Master, The", Lighting of, 89
+
+
+  Original Plays, 6
+
+
+  Pailleron, Edouard, 48
+
+  "Peer Gynt", Setting for, 107
+
+  Performance, Essentials of, 74 75
+
+  "Phormio", 5
+
+  Plautus, 5
+
+  Plays, "Cutting", 23
+
+  Plays, Kind of, 8-7
+    Classic, 2, 3, 4, 5, 6, 14
+    Comedies, 4
+    Farces, 4
+    Modern, 4, 5
+    Original, 6
+    Problem, 4
+    Sex, 4
+    Thesis, 4
+    Translated, 6
+    Reading of, 23-24
+
+  Plotting the stage, Examples of, 41-45, 49-52
+
+  Problem plays, 4
+
+  Prompt-copy, Making of, 34
+
+  Prompter, Duty of, 75
+
+  Property man, Duties of, 10, 12, 13, 15, 75
+
+  Proscenium, 81
+    Alteration of, 81, 82, 83, 84, 103-104
+    Diagrams of, 82, 83
+
+
+  Rehearsals, 15, 22, 58, 59, 61, 66, 67, 68, 70
+    First, 22-24, 61
+    Second, 24, 61, 66
+    Dress, 73, 74
+    Scene and light, 74
+
+  Reinhardt, Max, 95, 106
+
+  Revolving stage, 85
+
+  "Rising of the Moon, The", Lighting of, 90
+
+  "Rivals, The", 3, 5
+
+  "Romancers, The", 15, 106, 108
+    Setting for, 97-99
+
+  Rostand, 13, 97, 108
+
+
+  Scenery, Handling and Setting of, 15, 17
+
+  "Scrap of Paper, A", Setting for, 104-105
+
+  Screens, 83, 92, 102-103, 104
+
+  Settings, Stage, 77, 81, 82, 83, 85, 89, 91
+    "Box sets", 82, 89, 91
+    Examples of, 93-94, 95-97, 97-99, 100-101, 102-106
+
+  Sex plays, 4
+
+  Shakespeare's plays, Settings for, 92, 98-94, 94-97, 97-99, 106
+    Stage business of, 52
+
+  Shaw, G. Bernard, 3, 13, 34, 47
+
+  Sheridan, Richard Brinsley, 3, 5
+
+  "She Stoops to Conquer", 5
+
+  Simpson, J. Palgrave, 104
+
+  Sophocles, 4
+
+  Staff, Duties of members of, 9-17, 73-75
+    Head of (Director) 8-10
+    Organization of, 8-16
+
+  Stage, Physical requirements of, 76
+    Revolving, 85
+    Wagon, 85
+
+  Stage "business", 52, 61, 62, 64, 66, 69-70,
+    Examples of, 62, 63-64, 65
+    How to remember, 60
+
+  Stage directions, 28 (_Note_)
+    For "You Never Can Tell", 35-40
+
+  Stage grouping, _see_ GROUPING
+    Lighting, _see_ LIGHTING
+    Manager, Duties of, 10-11, 13, 14, 15, 16, 22, 23, 28, 74
+    Settings, _see_ SETTINGS
+
+  Sudermann, Hermann, 100
+
+  "Sumurûn", Background for, 106
+
+
+  Terence, 5
+
+  "Theatre of To-day, The", 76 (_Note_), 79
+
+  Thesis plays, 4
+
+  Translations, 6
+
+  "Twelfth Night", Settings for, 94-99, 106
+
+  "Twins, The", 5
+
+
+  Understudies, 16, 21
+
+
+  Wagon Stage, 85
+
+  Wardrobe mistress, _see_ COSTUME MAN
+
+  Warfield, David, 89
+
+  Wilde, Oscar, 3, 24, 47
+
+
+  "You Never Can Tell", 3, 13
+    Diagram of, 40-45
+    Quoted, 35-40
+    Stage directions of, 40
+
+
+
+
+                           Transcriber Notes:
+
+Passages in italics were indicated by _underscores_.
+
+Passages in bold were indicated by =equal signs=.
+
+Small caps were replaced with ALL CAPS.
+
+Throughout the dialogues, there were words used to mimic accents of the
+speakers. Those words were retained as-is.
+
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+paragraphs and so that they are next to the text they illustrate. Thus
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+same in the List of Illustrations and in the book.
+
+Errors in punctuations and inconsistent hyphenation were not corrected
+unless otherwise noted.
+
+On page 115, "Minna Von Barnhelm" was replaced with "Minna von
+Barnhelm".
+
+
+
+
+
+End of Project Gutenberg's How to Produce Amateur Plays, by Barrett H. Clark
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+<pre>
+
+Project Gutenberg's How to Produce Amateur Plays, by Barrett H. Clark
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to Produce Amateur Plays
+       A Practical Manual
+
+Author: Barrett H. Clark
+
+Release Date: June 11, 2012 [EBook #39973]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO PRODUCE AMATEUR PLAYS ***
+
+
+
+
+Produced by David Starner, Ernest Schaal, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<h1>HOW TO PRODUCE AMATEUR PLAYS</h1>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="illfp" id="illfp"></a>
+<img src="images/ill01.png" width="600" height="378" alt="" title="" />
+<p class="caption"><span class="smcap">Setting for a Poetic Drama. By Sam Hume.</span><br />
+(Courtesy of the artist).</p>
+</div>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 469px;">
+<img class="border" src="images/p005.png" width="469" height="700" alt="HOW TO PRODUCE
+AMATEUR PLAYS
+
+A Practical Manual
+BY
+BARRETT H. CLARK
+
+NEW AND REVISED EDITION
+
+BOSTON
+LITTLE, BROWN, AND COMPANY
+1923"
+title="HOW TO PRODUCE
+AMATEUR PLAYS
+
+A Practical Manual
+BY
+BARRETT H. CLARK
+
+NEW AND REVISED EDITION
+
+BOSTON
+LITTLE, BROWN, AND COMPANY
+1923" />
+</div>
+
+<hr class="hr2" />
+
+<p class="center"><i>Copyright, 1917, 1922</i>,</p>
+
+<p class="center"><span class="smcap">By Little, Brown, and Company</span>.</p>
+
+<hr />
+
+<p class="center"><i>All rights reserved</i></p>
+
+<p>&nbsp;</p>
+
+<p class="center"><span class="smcap">Printed in the United States of America</span></p>
+
+<hr class="hr2" />
+
+<h2><a name="pagev" id="pagev"></a>PREFACE TO THE REVISED EDITION</h2>
+
+<p class="indent"><span class="smcap">This</span> book aims to supply the demand for a simple guide
+to the production of plays by amateurs. During the past decade a number
+of books dealing with the subject have been published, but these are
+concerned either with theoretical and educational, or else with limited
+and, from the practical viewpoint, unessential aspects of the question.
+In the present manual the author has attempted an altogether practical
+work, which may be used by those who have little or no knowledge of
+producing plays.</p>
+
+<p class="indent">The book is not altogether limited in its appeal
+merely to producers; actors themselves and others having to do with
+amateur producing will find it helpful. The author has added a number of
+suggestions on a matter which is rapidly becoming of prime importance:
+the construction of stages and setting, and the manipulation of
+lighting.</p>
+
+<p class="indent">It is always well to bear in mind that no art can be
+taught by means of books. The chief purpose
+<span class="pagenum"><a name="pagevi" id="pagevi"></a>[pg&nbsp;vi]</span>
+of this volume is to lay down the elements and outline the technique of
+amateur producing.</p>
+
+<p class="indent">A careful study of it will enable the amateur stage
+manager to do much for himself which has heretofore been either
+impossible or attended with dire difficulty.</p>
+
+<p class="indent">The plan of the book is simple: each question and
+problem is treated in its natural order, from the moment an organization
+decides to &quot;give a play&quot;, until the curtain drops on the last
+performance of it.</p>
+
+<p class="indent">This new edition of &quot;How to Produce Amateur
+Plays&quot; has been revised throughout, and the list of plays in
+Chapter X completely re-written and brought up to date.</p>
+
+<p class="indent">The author acknowledges his indebtedness for
+suggestions and help, as well as for permission to reproduce diagrams,
+photographs, and passages from plays, to Mr. T. R. Edwards, Mr. Hiram
+Kelly Moderwell, Mr. L. R. Lewis, Mr. Clayton Hamilton, Miss Grace
+Griswold, Miss Edith Wynne Matthison, Mr. Maurice Browne, Miss Ida
+Treat, Mr. Sam Hume, John Lane Company, Samuel French, Brentano&#39;s,
+and Henry Holt and Company.</p>
+
+<p><span class="smcap">March, 1922</span></p>
+
+<hr class="hr2" />
+
+<h2>CONTENTS</h2>
+
+<p>CHAPTER <span class="ralign">PAGE</span></p>
+
+<p><span class="smcap">Preface</span> <span class="ralign"><a href="#pagev">v</a></span></p>
+
+<p>&nbsp;&nbsp;&nbsp;I. <span class="smcap">Choosing the Play</span> <span class="ralign"><a href="#page1">1</a></span></p>
+
+<p>&nbsp;&nbsp;II. <span class="smcap">Organization</span> <span class="ralign"><a href="#page8">8</a></span></p>
+
+<p>&nbsp;III. <span class="smcap">Choosing the Cast</span> <span class="ralign"><a href="#page18">18</a></span></p>
+
+<p>&nbsp;&nbsp;IV. <span class="smcap">Rehearsing I</span> <span class="ralign"><a href="#page22">22</a></span></p>
+
+<p>&nbsp;&nbsp;&nbsp;V. <span class="smcap">Rehearsing II</span> <span class="ralign"><a href="#page48">48</a></span></p>
+
+<p>&nbsp;&nbsp;VI. <span class="smcap">Rehearsing III</span> <span class="ralign"><a href="#page73">73</a></span></p>
+
+<p>&nbsp;VII. <span class="smcap">The Stage</span> <span class="ralign"><a href="#page76">76</a></span></p>
+
+<p>VIII. <span class="smcap">Lighting</span> <span class="ralign"><a href="#page86">86</a></span></p>
+
+<p>&nbsp;&nbsp;IX. <span class="smcap">Scenery and Costumes</span> <span class="ralign"><a href="#page91">91</a></span></p>
+
+<p>&nbsp;&nbsp;&nbsp;X. <span class="smcap">Selective Lists of Amateur Plays</span> <span class="ralign"><a href="#page110">110</a></span></p>
+
+<p class="center">APPENDICES</p>
+
+<p>   I. <span class="smcap">Copyright and Royalty</span> <span class="ralign"><a href="#page127">127</a></span></p>
+
+<p>  II. <span class="smcap">A Note on Make-up</span> <span class="ralign"><a href="#page130">130</a></span></p>
+
+<p>INDEX <span class="ralign"><a href="#page139">139</a></span></p>
+
+<hr class="hr2" />
+
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+<p><span class="smcap">Setting for a Poetic Drama, by Sam Hume</span> <span class="ralign"><a href="#illfp"><i>Frontispiece</i></a></span></p>
+
+<p class="right">PAGE</p>
+
+<p><span class="smcap">&quot;The Grotesques&quot;, by Cloyd Head. Produced at the Little Theater, Chicago</span> <span class="ralign"><a href="#ill8">8</a></span></p>
+
+<p><span class="smcap">&quot;The Trojan Women&quot; of Euripides. Produced at the Little Theater, Chicago</span> <span class="ralign"><a href="#ill18">18</a></span></p>
+
+<p><span class="smcap">&quot;Captain Brassbound&#39;s Conversion&quot;, by Shaw. Set of Act I, as Produced by the Neighborhood Playhouse, New York</span> <span class="ralign"><a href="#ill22">22</a></span></p>
+
+<p><span class="smcap">Set for Musset&#39;s &quot;Whims.&quot; Produced by the Washington Square Players</span> <span class="ralign"><a href="#ill48">48</a></span></p>
+
+<p><span class="smcap">&quot;Sister Beatrice&quot; of Maeterlinck. Produced at the Western Reserve College for Women</span> <span class="ralign"><a href="#ill74">74</a></span></p>
+
+<p><span class="smcap">Two Views of the Stage at Tufts College, Showing Plenty of Open Space for the Storing and Shifting of Scenery</span> <span class="ralign"><a href="#ill76">76</a></span></p>
+
+<p><span class="smcap">An Ordinary Box-set. From Dumas <i>fils&#39;</i> &quot;The Money Question.&quot; Produced at Tufts College</span> <span class="ralign"><a href="#ill80">80</a></span></p>
+
+<p><span class="smcap">Scenes From Euripides&#39; &quot;Electra.&quot; Produced at Illinois State College</span> <span class="ralign"><a href="#ill90">90</a></span></p>
+
+<p><span class="smcap">Two Views of the Stage at the University of North Dakota</span> <span class="ralign"><a href="#ill106">106</a></span></p>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page1" id="page1"></a>[pg&nbsp;1]</span></p>
+
+<h1>HOW TO PRODUCE AMATEUR<br />
+PLAYS</h1>
+
+<hr/>
+
+<h2>CHAPTER I</h2>
+
+<h3>CHOOSING THE PLAY</h3>
+
+<p class="indent"><span class="smcap">The</span> first important question arising after the
+decision to give a play, is &quot;What play?&quot; Only too often is
+this question answered in a haphazard way. Of recent years a large
+number of guides to selecting plays have made their appearance, most of
+which are incomplete and otherwise unsatisfactory. The large lists
+issued by play publishers are bewildering. Toward the end of the present
+volume is a selective list of plays, all of which are, in one way or
+another, &quot;worth while&quot;; but as conditions differ so widely, it
+is practically impossible to do otherwise than merely indicate in a
+general way what sort of play is suggested.</p>
+
+<p class="indent"><span class="pagenum"><a name="page2" id="page2"></a>[pg&nbsp;2]</span>
+Each play considered by any organization should be read by the director
+or even the whole club or cast, after the requisite conditions have been
+considered. These conditions usually are:</p>
+
+<p class="indent">1. <b>Size of the Cast.</b> This is obviously a simple
+matter: a cast of ten cannot play Shakespeare.</p>
+
+<p class="indent">2. <b>Ability of the Cast.</b> This is a little more
+difficult. While it is a laudable ambition to produce Ibsen, let us say,
+no high-school students are sufficiently mature or skilled to produce
+&quot;A Doll&#39;s House.&quot; As a rule, the well-known
+classics&mdash;Shakespeare, Molière, Goldoni, Sheridan,
+Goldsmith&mdash;suffer much less from inadequate acting and production
+than do modern dramatists. The opinion of an expert, or at least of some
+one who has had experience in coaching amateur plays, should be sought
+and acted upon. If, for example, &quot;As You Like It&quot; is under
+consideration, it must be borne in mind that the rôle of Rosalind
+requires delicate and subtle acting, and if no suitable woman can be
+found for that part, a simpler play, like &quot;The Comedy of
+Errors&quot;, had much better be substituted. Modern plays are on the
+whole more difficult:
+<span class="pagenum"><a name="page3" id="page3"></a>[pg&nbsp;3]</span>
+the portrayal of a modern character calls for greater variety, maturity,
+and skill than the average amateur possesses. The characters in
+Molière&#39;s &quot;Le Bourgeois Gentilhomme&quot; (&quot;The Merchant
+Gentleman&quot;), Shakespeare&#39;s &quot;The Comedy of Errors&quot;,
+Sheridan&#39;s &quot;The Rivals&quot;, are more or less well-known
+types, and acting of a conventional and imitative kind is better suited
+to them. On the other hand, only the best-trained amateurs are able to
+impart the needful appearance of life and actuality to a play like Henry
+Arthur Jones&#39;s &quot;The Liars.&quot; Still, there are many modern
+plays&mdash;among them, Shaw&#39;s &quot;You Never Can Tell&quot; and
+Wilde&#39;s &quot;The Importance of Being Earnest&quot;&mdash;in which
+no great subtlety of characterization is called for. These can be
+produced as easily by amateurs as can Shakespeare and Sheridan.</p>
+
+<p class="indent">3. <b>The Kind of Play</b> to be presented usually
+raises many questions which are entirely without the scope of purely
+dramatic considerations. In this country especially, there is a studied
+avoidance among schools and often among colleges and universities, of
+so-called &quot;unpleasant plays.&quot; Without entering into the
+reasons for this aversion, it is rather fortunate,
+<span class="pagenum"><a name="page4" id="page4"></a>[pg&nbsp;4]</span>
+because as a general rule, &quot;thesis&quot;, &quot;sex&quot;, and
+&quot;problem&quot; plays are full of pitfalls for amateur actors and
+producers.</p>
+
+<p class="indent">While it is a splendid thing to believe no play too
+good for amateurs, some moderation is necessary where a play under
+consideration is obviously beyond the ability of a cast:
+&quot;Hamlet&quot; ought never to be attempted by amateurs, nor such
+subtle and otherwise difficult plays as &quot;Man and Superman.&quot;
+Plays of the highest merit can be found which are not so taxing as
+these. There is no reason why Sophocles&#39; &quot;Electra&quot;,
+Euripides&#39; &quot;Alcestis&quot;, or the comedies of Lope de Vega,
+Goldoni, Molière, Kotzebue, Lessing, not to mention the better-known
+English classics, should not be performed by amateurs.</p>
+
+<p class="indent">It goes without saying that the facile, trashy,
+&quot;popular&quot; comedies of the past two or three generations are to
+be avoided by amateurs who take their work seriously. This does not mean
+that all farces and comedies should be left out of the repertory:
+&quot;The Magistrate&quot; and &quot;The Importance of Being
+Earnest&quot; are among the finest farces in the language. The point to
+be impressed is that it is better to attempt a play which may be more
+difficult
+<span class="pagenum"><a name="page5" id="page5"></a>[pg&nbsp;5]</span>
+to perform than &quot;Charley&#39;s Aunt&quot;, than to give a good
+performance of that oft-acted and decidedly hackneyed piece. It is much
+more meritorious to produce a good play poorly, if need be, than a poor
+play well.</p>
+
+<p class="indent">If, after having consulted the list in this volume and
+similar other lists, the club is still unable to decide on a suitable
+modern play, the best course is to return to the classics. It is likely
+that the plays that have pleased audiences for centuries will please us.
+Aristophanes&#39; &quot;The Clouds&quot; and &quot;Lysistrata&quot;,
+with a few necessary &quot;cuts&quot;; Plautus&#39; &quot;The
+Twins&quot; and Terence&#39;s &quot;Phormio&quot;; Goldoni&#39;s
+&quot;The Fan&quot;; Shakespeare&#39;s &quot;Comedy of Errors&quot; and
+half a dozen other comedies; Molière&#39;s &quot;Merchant
+Gentleman&quot; and &quot;Doctor in Spite of Himself&quot;;
+Sheridan&#39;s &quot;The Rivals&quot; and Goldsmith&#39;s &quot;She
+Stoops to Conquer&quot;; Lessing&#39;s &quot;Minna von
+Barnhelm&quot;&mdash;almost any one of these is &quot;safe.&quot; A
+classic can never be seen too often and, since true amateurs are those
+who play for the joy of playing, they will receive ample recompense for
+their efforts in the thought that they have at least added their mite to
+the sum total of true enjoyment in the theater. Another argument
+<span class="pagenum"><a name="page6" id="page6"></a>[pg&nbsp;6]</span>
+in favor of the performance of the classics is that they are rarely
+produced by professionals. If an amateur club revives a classic,
+especially one which is not often seen nowadays, it may well be proud of
+its efforts.</p>
+
+<p class="indent">If, however, the club insists on giving a modern play,
+it will have little difficulty in finding suitable material. It is well
+not to challenge comparison with professional productions by choosing
+plays which have had professional runs of late; try rather to select (1)
+good modern plays which by reason of their subject matter, form, etc.,
+cannot under present conditions be commercially successful (like
+Granville Barker&#39;s &quot;The Marrying of Ann Leete&quot;); (2)
+translations of contemporary foreign plays which are not well known
+either to American readers or producers; and, finally (3) original
+plays. Here it is difficult to advise. It cannot be hoped that an
+amateur club will discover many masterpieces among original plays
+submitted to it, but if any of the works considered has even a touch of
+originality, some good characterization, any marked technical skill; in
+a word, if there is something interesting or promising, then it is worth
+producing. Doubtless many beginners are discouraged
+<span class="pagenum"><a name="page7" id="page7"></a>[pg&nbsp;7]</span>
+from writing plays for lack of experience gained by seeing their work
+staged; for such, the amateur club is the only resource.</p>
+
+<p class="indent">Besides these particular considerations, there remain
+the minor but necessary points relating to rights and royalties. A full
+statement of the legal aspect of the case is to be found in the first
+appendix in this book.</p>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill8" id="ill8"></a>
+<img src="images/ill02.png" width="600" height="437" alt="" title="" />
+<p class="caption"><span class="smcap">&quot;The Grotesques&quot;, by Cloyd Head. Produced at the<br />
+Little Theater, Chicago</span></p>
+
+<p class="center">A shallow cyclorama. The simple design forms an effective background for the grouping of the figures.</p>
+
+<p class="center">(Courtesy of Maurice Browne).</p>
+</div>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page8" id="page8"></a>[pg&nbsp;8]</span></p>
+
+<h2>CHAPTER II</h2>
+
+<h3>ORGANIZATION</h3>
+
+<p class="indent">A <span class="smcap">great</span> many more factors
+go into the making of a successful dramatic production than may at first
+be apparent. To organize a staff whose duty it is to furnish and equip a
+theater, hall, or schoolroom; to arrange and efficiently run rehearsals;
+to supply &quot;props&quot;, costumes, and furniture; to manage the
+stage during the performance&mdash;all this is next in importance to the
+acting itself.</p>
+
+<p class="indent">Of late years especially it has been made clear that
+the art of the theater, although it is a collaboration of the brains and
+hands of many persons, must be under the supervision of one dominating
+and far-seeing chief. That is to say, one person and one alone must be
+responsible for the entire production. Except in rare instances this
+head cannot know of and attend to each detail himself, but it is his
+<span class="pagenum"><a name="page9" id="page9"></a>[pg&nbsp;9]</span>
+business to see that the whole organization is formed and managed
+according to his wishes. The function of this ideal manager has been
+compared with that of the orchestral conductor: it is he who leads, and
+he should be the first to detect the slightest discord. While the
+foregoing remarks are more strictly applicable to acting and staging, it
+will readily be seen that if the same leader is not in touch with the
+more practical side of the production, there is likely to arise that
+working at cross-purposes which has ruined many an amateur as well as
+professional production. While a great deal of the actual work must be
+done by subordinates, it should be clearly understood that the director
+has the final word of authority.</p>
+
+<p class="indent">Much in the matter of organization depends upon the
+number and ability and experience of those persons who are available,
+but the suggestions about to be made as to the organization of a staff
+are based upon the assumption that the director is a capable person, and
+his assistants at least willing to learn from him. As a rule, he will
+have plenty of material to work with.</p>
+
+<p class="indent"><b>The Director.</b> The producer, the head under
+whose guidance the entire work of rehearsing
+<span class="pagenum"><a name="page10" id="page10"></a>[pg&nbsp;10]</span>
+and organization should lie, is called the director. However, since this
+position is often held by a hired coach or by some one else who cannot
+be expected to attend to much outside the actual rehearsing, there must
+be elected or appointed an officer who is directly responsible. This
+officer is:</p>
+
+<p class="indent"><b>The Stage Manager.</b> As the director cannot
+always be present at every rehearsal, and as oftentimes two parts of the
+play are rehearsed simultaneously, it is evident that another director
+must be ready to act in place of the head. It is chiefly his duty to
+&quot;hold&quot; the prompt-book and keep a careful record of all stage
+business, &quot;cuts&quot;, etc. At every rehearsal he must be ready to
+prompt, either lines or &quot;business&quot;&mdash;action, gestures,
+crosses, entrances, exits, and the like&mdash;and call the attention of
+the director to omissions or mistakes of every sort. In the event of the
+director&#39;s absence, he becomes the pro tem. director himself.</p>
+
+<p class="indent">It is advisable&mdash;though not always
+possible&mdash;to delegate the duties of property man, lightman, curtain
+man, costume man (or wardrobe mistress) to different persons; but even
+when this is done, it is better for the stage
+<span class="pagenum"><a name="page11" id="page11"></a>[pg&nbsp;11]</span>
+manager to keep a record of all &quot;property plots&quot;, &quot;light
+plots&quot;, &quot;furniture plots&quot;, etc.</p>
+
+<p class="indent">It is also the stage manager&#39;s business to arrange
+the time and place of rehearsals, and hold each actor responsible for
+attendance.</p>
+
+<p class="indent">On the occasion of the dress rehearsal and of the
+actual production, it is the stage manager, and not the director, who
+supervises everything. His position is that of commander-in-chief. He
+either holds the book, or is at least close by the person who actually
+follows the lines; sees that each actor is ready for his entrance; that
+the curtain rises and falls when it should; that his assistants are each
+in their respective places; and that the entire performance
+&quot;goes&quot; as it is intended to go.</p>
+
+<p class="indent"><b>The Business Manager.</b> This person attends to
+such matters as renting the theater&mdash;or arranging some place for
+the performance&mdash;printing and distributing tickets; in short,
+everything connected with the receipt and expenditure of money. It is
+not of course imperative that he should have much to do with the
+director; the only point to be borne in mind being that every one
+connected with the production of a play should be in touch with those in
+authority. The business manager
+<span class="pagenum"><a name="page12" id="page12"></a>[pg&nbsp;12]</span>
+ought to have at least a preliminary conference with the director, and
+report to him every week until a few days before the performance, when
+he should be within instant call in case of emergency. The property,
+light, furniture, and costume people must naturally keep in close touch
+with him, although no purchases should be made without the permission of
+the director, who in this case must be at one with the club or
+organization.</p>
+
+<p class="indent"><b>The Property Man.</b> The duties attaching to this
+position are definitely and necessarily limited, but of great
+importance. Working under the stage manager, he supplies all the
+objects&mdash;such as revolvers, swords, letters, etc.&mdash;in a word,
+everything actually <i>used</i> by the actors, and not falling under the
+categories of &quot;scenery&quot;, &quot;costumes&quot;, and
+&quot;furniture.&quot;</p>
+
+<p class="indent">It will be found necessary in some cases to add to the
+staff one person whose business it is to attend to the matter of
+furnishings: rugs, hangings, pictures, furniture, and so forth; but in
+case there is no such person, the property man attends to these details
+himself.</p>
+
+<p class="indent">It cannot be too strongly urged that from the very
+first as many &quot;props&quot;, as much furniture
+<span class="pagenum"><a name="page13" id="page13"></a>[pg&nbsp;13]</span>
+or as many set pieces as possible (depending on whether the set is an
+indoor or outdoor one), should be used by the actors. In this way they
+will be better able to associate their thoughts, words, and gestures
+with the material objects with which they will be surrounded on the
+fatal night. If this is impracticable, that is, if most of these objects
+cannot be secured from the first, then at least suitable substitutes
+should be used. The presence of such fundamentally important articles as
+the wall in Rostand&#39;s &quot;The Romancers&quot;, and the
+dentist&#39;s chair in Shaw&#39;s &quot;You Never Can Tell&quot;, when
+used from the first rehearsals, always minimizes the danger of confusion
+of lines or business at the last moment.</p>
+
+<p class="indent">The property man must keep a list of everything
+required; this should be a duplicate of that in the possession of the
+stage manager.</p>
+
+<p class="indent"><b>The Lightman.</b> Sometimes even nowadays called
+the &quot;Gasman.&quot; He is not indispensable, because almost always
+the regular electrician attends to the switchboard. However, some one
+should be with the electrician at the dress rehearsal and on the evening
+of the performance to give him the necessary light
+<span class="pagenum"><a name="page14" id="page14"></a>[pg&nbsp;14]</span>
+cues. Usually, however, the stage manager who holds the prompt-book
+where all the light cues are indicated can fulfill this function.</p>
+
+<p class="indent"><b>The Costume Man</b> (or <b>Wardrobe Mistress</b>,
+as the case may be). Again the duties are simple. If the play is a
+classic&mdash;Shakespeare, for instance,&mdash;the costumes, in
+ninety-nine cases out of a hundred, had better be rented from a regular
+costumer. The costume man, then, together with the business manager,
+attends to the details of renting, and sees that all costumes are ready
+for the dress rehearsal. If the costumes are made to order, the matter
+is supervised by the costume man. But, as with everything else connected
+with the best amateur efforts, there should be some expert adviser, not
+so much one versed in history and archeology as an artist with an eye
+for color and style. The director in any event must be consulted, so
+that lights, scenery, and costumes may harmonize. Details as to costumes
+are to be found in many books, and need not here be discussed. In spite
+of a good deal that has been written to the contrary, historical
+accuracy is not of vast importance: so long as there are no glaring
+anachronisms, Shakespeare may be presented with actors wearing
+<span class="pagenum"><a name="page15" id="page15"></a>[pg&nbsp;15]</span>
+pre- or post-Elizabethan costumes, provided they are beautiful, and
+harmonize.</p>
+
+<p class="indent">Among the thousand and one minor details of producing,
+there are some which in large productions might be assigned to specially
+appointed individuals, but most of the duties to be briefly enumerated
+below may easily be given over to the stage manager, property man, or
+costume man, or even to the lightman.</p>
+
+<p class="indent"><i>Handling and Setting of Scenery and Furniture.</i>
+This is usually taken care of by the property man and his assistants,
+under the direction of the stage manager. As in every other branch of
+the work, all details must be planned beforehand, and recorded.</p>
+
+<p class="indent"><i>Music.</i> The music cues should be marked in the
+stage manager&#39;s prompt-book. Incidental music, whether it be on,
+behind, or off-stage in the orchestra pit, ought to be rehearsed at
+least two or three times. On the occasion of the performance, the stage
+manager gives directions from his prompt-book for all music cues.</p>
+
+<p class="indent"><i>Crowds or Large Groups.</i> The management and
+rehearsing of crowds or large groups is considered under
+&quot;Rehearsing&quot; (p. 58). Here it will suffice to state that it is
+well to
+<span class="pagenum"><a name="page16" id="page16"></a>[pg&nbsp;16]</span>
+have an assistant whose duty it is to see that the &quot;supes&quot;
+[supernumeraries] are conducted on and off the stage at the right
+time.</p>
+
+<p class="indent">Among the further details which must be looked after
+are the duties which are sometimes left to the stage manager: the
+ringing of bells, calling of actors at the regular performance, etc. A
+&quot;call boy&quot; may be delegated to do this.</p>
+
+<p class="indent"><i>Understudies.</i> Trouble is always likely to
+arise, especially among amateurs, because there is no effective method
+of holding the actors to strict account. Often, one or more of the cast
+finds, or thinks he finds, good reason for leaving it, and a new actor
+must sometimes be found and trained to fill the vacancy on perilously
+short notice. Sickness or indisposition invariably give rise to the same
+problem. If possible, an entire second cast should be trained, so that
+any member of it could at a moment&#39;s notice be called upon to play
+in the first cast. While this second company should be letter-perfect
+and know the &quot;business&quot; in every detail, it is not necessary
+that their acting be so finished and detailed as that of the others.
+Understudy rehearsals are under the direction of the stage manager,
+although the director should witness at least two or three.</p>
+
+<p class="indent"><span class="pagenum"><a name="page17" id="page17"></a>[pg&nbsp;17]</span>
+Since the performance depends almost wholly on the knowledge, sympathy,
+and taste of the director, the greatest care should be taken in choosing
+him. Needless to say, the ideal director does not exist; still, his
+attributes should be constantly borne in mind. If he lacks the
+artist&#39;s sense of color, rhythm, and proportion, then an art adviser
+must be called in to suggest color schemes as regards costumes, scenery,
+furniture, and lighting. Nowadays, great attention is being paid to
+these matters, and the subtle effect of background and detail is much
+greater than is commonly supposed. The play is of first
+importance&mdash;that must never be forgotten&mdash;but these other
+matters are too often neglected.</p>
+
+<p class="indent">Similarly with costumes, music, scenery, it is never
+amiss to consult authorities. But once more be it repeated, the whole
+production should bear the imprint of the director&#39;s personality,
+because only in this way can we hope for that essential unity of effect
+which is a basic principle of all art.</p>
+
+<p class="indent">Coöperation with, but, in the last analysis,
+subserviency to, the director, is the keynote of success.</p>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill18" id="ill18"></a>
+<img src="images/ill03.png" width="600" height="438" alt="" title="" />
+<p class="caption"><span class="smcap">&quot;The Trojan Women&quot;, of Euripides. Produced at the<br />
+Little Theater, Chicago.</span></p>
+
+<p class="center">Effective grouping against a simple background. (Courtesy of Maurice Browne).</p>
+</div>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page18" id="page18"></a>[pg&nbsp;18]</span></p>
+
+<h2>CHAPTER III</h2>
+
+<h3>CHOOSING THE CAST</h3>
+
+<p class="indent"><span class="smcap">Obviously</span>, the choice of
+the cast should depend upon the ability of the actors, although in the
+case of an organization like a school or college dramatic club, this
+system is not always practicable or even advisable. Every member of such
+a club should be trained to work for a common end, and a system by which
+amateurs are made to understand the necessity of assuming first small
+and unimportant rôles and working up gradually to the greater and more
+important ones, makes for harmony and completeness of effect in
+performances. It should be one of the chief ends of amateur producing to
+get away from the curse of the professional stage: the star system. It
+has been stated here that the greatest emphasis must be laid on the play
+itself, and no actor, professional or amateur, should ever labor under
+the delusion
+<span class="pagenum"><a name="page19" id="page19"></a>[pg&nbsp;19]</span>
+that he is of greater or even as great importance as the play in which
+he strives to act his part. The average actor is inclined to judge a
+play&#39;s merit according to the sort of part it furnishes him; the
+amateur spirit has done much to do away with this attitude, and it is to
+be hoped that no coach will ever do otherwise than discourage it.</p>
+
+<p class="indent">Competition as a means of selecting a cast is in most
+cases the best method. The play once selected, the people from among
+whom the cast is to be formed are assembled. It is a good plan to have
+every one read the play first, and make a study of at least one scene of
+it. Then, either alone or in company with one, two, or three others, he
+reads&mdash;or recites from memory&mdash;the scene in question, either
+before the entire club or before a committee of judges. Each actor is
+judged on appearance, ease, voice, and insight into the character he is
+portraying. The judges, seconded possibly by the members of the club
+(whose votes should, by the way, be of only secondary importance), then
+select those whom they consider best fitted for the parts. In every case
+the director should give final sanction to the selection.</p>
+
+<p class="indent">In cases where members must at first assume
+<span class="pagenum"><a name="page20" id="page20"></a>[pg&nbsp;20]</span>
+only minor parts because of club rules, there may arise some difficulty:
+for example, a beginner may be better fitted to assume an important rôle
+than older club members. Such cases must of course be dealt with
+individually.</p>
+
+<p class="indent">In organizations which are not run on so democratic a
+basis, the director selects the cast himself. On the whole, this is much
+the best system, as the director is left a free field in which to work
+out his own problems in his own way. If it is at all possible, an
+amateur club ought to put everything, including the responsibility, into
+the hands of a competent director. In this respect, the despotism of the
+professional stage is most beneficial. Whether the coach be an outsider
+hired for the occasion, or a regular member of the club, in nine cases
+out of ten he will establish and maintain harmony, allow no real talent
+to languish, and be at least in a position to produce definite artistic
+results. Amateur management has spoiled much good material. A director
+with full authority can work more easily and efficiently if left to his
+own devices than if trammeled with rules and regulations.</p>
+
+<p class="indent">The theater, behind the scenes, is a despotic
+institution; it must be, but the greatest care
+<span class="pagenum"><a name="page21" id="page21"></a>[pg&nbsp;21]</span>
+must be taken in choosing the right despot. Should the coach be a
+professional manager or actor, or should he be an amateur? The question
+is a difficult one. There are, it goes without saying, many excellent
+directors who are or have been professionals; on the other hand, it
+cannot be denied that some of the best amateur work in this country has
+been done by directors whose experience on the professional stage has,
+to say the least, been limited. Some such training is beneficial, but to
+put a professional of many years&#39; experience in charge of amateurs
+is likely to make of the amateurs a company of puppets imitating only
+some of the externals of professionaldom. The best director, therefore,
+seems to be a person who has some professional experience, but who has
+likewise dealt with amateurs; one who enters into the amateur spirit,
+and understands its difference from the professional world, and does not
+try to train his company to imitate stock actors or
+&quot;stars.&quot;</p>
+
+<p class="indent">Understudies may be chosen in the same manner as the
+first cast.</p>
+
+<p class="indent">After the choosing of the casts, the next step is
+rehearsing. To this complicated process the next three chapters are
+devoted.</p>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill22" id="ill22"></a>
+<img src="images/ill04.png" width="600" height="406" alt="" title="" />
+<p class="caption"><span class="smcap">&quot;Captain Brassbound&#39;s Conversion&quot;, by Shaw. Set of Act I, as produced
+by the Neighborhood Playhouse, New York.</span></p>
+
+<p class="center">(Photo by White. Courtesy of Neighborhood Playhouse).</p>
+</div>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page22" id="page22"></a>[pg&nbsp;22]</span></p>
+
+<h2>CHAPTER IV</h2>
+
+<h3>REHEARSING<br />
+I</h3>
+
+<p class="indent"><span class="smcap">The</span> first rehearsal should
+be &quot;called&quot; as soon as possible after the cast has been
+selected and a place chosen in which to work. If the play is to be
+performed in a regular theater, it is wise to block out the general
+action and have at least the first two or three rehearsals on the stage.
+It would be still better if all the rehearsals could be conducted there,
+but as this is seldom possible, the stage manager should take its
+dimensions and secure some room as near the size of the stage as he can
+find. A room too large or too small, or not the requisite shape, is more
+than likely to confuse the actors. As many of the essential
+&quot;props&quot; and articles of furniture as possible should be used
+from the very first, in order to accustom the actors to work under
+approximately
+<span class="pagenum"><a name="page23" id="page23"></a>[pg&nbsp;23]</span>
+the same conditions as on the occasion of the performance.</p>
+
+<p class="indent">If the play can be secured in printed form, each actor
+will have his copy, and a general reading to the cast by the director or
+stage manager be rendered unnecessary. However, a few remarks by him as
+to the nature and spirit of the play will not be amiss. It is not
+uncommon to hear of professionals who have never read or seen the entire
+play even after acting in it for many months. Unless each actor knows
+and feels what the play is about and enters into its spirit, there can
+be little chance for unity and harmony.</p>
+
+<p class="indent">&quot;Cutting&quot;, or other alteration, is often
+necessary. The director should read his alterations and allow each actor
+to make his text conform with the prompt-copy.</p>
+
+<p class="indent">When the play is not obtainable in book form, each
+rôle is then copied from the manuscript, together with the
+&quot;cues&quot; and all the stage business. In this case, a general
+reading to the cast is imperative.</p>
+
+<p class="indent">The preliminaries disposed of, the play is
+<i>read</i>, each actor taking his part. This is merely to familiarize
+the actors with the play and show them briefly their relation to each
+<span class="pagenum"><a name="page24" id="page24"></a>[pg&nbsp;24]</span>
+other and the work as a whole. At this first rehearsal, there should be
+no attempt at acting; that is reserved for the next meeting.</p>
+
+<p class="indent">At the second rehearsal<a name="FNanchor_1_1"
+id="FNanchor_1_1"></a><a href="#Footnote_1_1"
+class="fnanchor">[1]</a>&mdash;which should take place the day after the
+first&mdash;the director blocks out the action. If the play be a
+full-length one (approximately two hours) then one act of this general
+blocking out will be found to occupy all the time. If the play is in a
+single act, and provided it be not too long, then the entire play may be
+blocked out.</p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_1_1" id="Footnote_1_1"></a>
+<a href="#FNanchor_1_1">
+<span class="label">[1]</span></a>
+The system here followed must of necessity be arbitrary, but the
+principle is easy to grasp. A great deal depends on the ability of the
+actors and the time they can afford.</p>
+</div>
+</div>
+
+<p class="indent">What is &quot;blocking out&quot;? Let us take an easy
+example and block out the first few minutes&#39; of Wilde&#39;s
+&quot;The Importance of Being Earnest.&quot;<a name="FNanchor_2_2"
+id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>
+Here follows the text of the first two and a half pages:</p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_2_2" id="Footnote_2_2"></a>
+<a href="#FNanchor_2_2">
+<span class="label">[2]</span></a>
+Editions published by French, Putnam, Luce, Nichols, and Baker.</p>
+</div>
+</div>
+
+<blockquote>
+<p class="indent"><i>Scene&mdash;Morning-room in Algernon&#39;s flat in
+Half Moon Street. The room is luxuriously and artistically furnished.
+The sound of a piano is heard in the adjoining room.</i></p>
+
+<p class="indent">[<span class="smcap">LANE</span> <i>is arranging
+afternoon tea on the table, and after the music has ceased</i>, <span
+class="smcap">ALGERNON</span> <i>enters</i>.]</p>
+
+<p class="indent"><span class="pagenum"><a name="page25" id="page25"></a>[pg&nbsp;25]</span>
+<span class="smcap">ALGERNON.</span> Did you hear what I was playing,
+Lane?</p>
+
+<p class="indent"><span class="smcap">LANE.</span> I didn&#39;t think it
+polite to listen, sir.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> I&#39;m sorry for
+that, for your sake. I don&#39;t play accurately&mdash;any one can play
+accurately&mdash;but I play with wonderful expression. As far as the
+piano is concerned, sentiment is my forte. I keep science for Life.</p>
+
+<p class="indent"><span class="smcap">LANE.</span> Yes, sir.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> And, speaking of
+the science of Life, have you got the cucumber sandwiches cut for Lady
+Bracknell?</p>
+
+<p class="indent"><span class="smcap">LANE.</span> Yes, sir. [<i>He
+hands them on a salver.</i>]</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> [<i>Inspects
+them, takes two, and sits down on the sofa.</i>] Oh! ... by the way,
+Lane, I see from your book that on Thursday night, when Lord Shoreman
+and Mr. Worthing were dining with me, eight bottles of champagne are
+entered as having been consumed.</p>
+
+<p class="indent"><span class="smcap">LANE.</span> Yes, sir, eight
+bottles and a pint.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> Why is it that at
+a bachelor&#39;s establishment the servants invariably drink the
+champagne? I ask merely for information.</p>
+
+<p class="indent"><span class="smcap">LANE.</span> I attribute it to the
+superior quality of the wine, sir. I have often observed that
+<span class="pagenum"><a name="page26" id="page26"></a>[pg&nbsp;26]</span>
+in married households the champagne is rarely of a first-rate brand.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> Good Heavens! Is
+marriage so demoralizing as that?</p>
+
+<p class="indent"><span class="smcap">LANE.</span> I believe it
+<i>is</i> a very pleasant state, sir. I have had very little experience
+of it myself up to the present. I have only been married once. That was
+in consequence of a misunderstanding between myself and a young
+person.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span>
+[<i>Languidly.</i>] I don&#39;t know that I am much interested in your
+family life, Lane.</p>
+
+<p class="indent"><span class="smcap">LANE.</span> No, sir; it is not a
+very interesting subject. I never think of it myself.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> Very natural, I
+am sure. That will do, Lane, thank you.</p>
+
+<p class="indent"><span class="smcap">LANE.</span> Thank you, sir.
+[<span class="smcap">LANE</span> <i>goes out</i>.]</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> Lane&#39;s views
+on marriage seem somewhat lax. Really, if the lower orders don&#39;t set
+us a good example, what on earth is the use of them? They seem, as a
+class, to have absolutely no sense of moral responsibility.
+[<i>Enter</i> <span class="smcap">LANE</span>.]</p>
+
+<p class="indent"><span class="smcap">LANE.</span> Mr. Ernest Worthing.
+[<i>Enter</i> <span class="smcap">JACK</span>. <span
+class="smcap">LANE</span> <i>goes out</i>.]</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> How are you, my
+dear Ernest? What brings you up to town?</p>
+
+<p class="indent"><span class="pagenum"><a name="page27" id="page27"></a>[pg&nbsp;27]</span>
+<span class="smcap">JACK.</span> Oh, pleasure, pleasure! What else
+should bring me anywhere? Eating as usual, I see, Algy?</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> [<i>Stiffly.</i>]
+I believe it is customary in good society to take some slight
+refreshment at five o&#39;clock. Where have you been since last
+Thursday?</p>
+
+<p class="indent"><span class="smcap">JACK.</span> [<i>Sitting down on
+the sofa.</i>] In the country.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> What on earth do
+you do there?</p>
+
+<p class="indent"><span class="smcap">JACK.</span> [<i>Pulling off his
+gloves.</i>] When one is in town one amuses oneself. When one is in the
+country one amuses other people. It is excessively boring.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> And who are the
+people you amuse?</p>
+
+<p class="indent"><span class="smcap">JACK.</span> [<i>Airily.</i>] Oh,
+neighbors, neighbors.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> Got nice
+neighbors in your part of Shropshire?</p>
+
+<p class="indent"><span class="smcap">JACK.</span> Perfectly horrid!
+Never speak to one of them.</p>
+
+<p class="indent"><span class="smcap">ALGERNON.</span> How immensely you
+must amuse them! (<i>Goes over and takes sandwich.</i>) By the way,
+Shropshire is your county, is it not?</p>
+
+<p class="indent"><span class="smcap">JACK.</span> Eh? Shropshire? Yes,
+of course. Hallo! Why all these cups? Why such extravagance
+<span class="pagenum"><a name="page28" id="page28"></a>[pg&nbsp;28]</span>
+in one so young? Who is coming to tea?</p> </blockquote>
+
+<p class="indent">The first point to be noticed is that the stage
+directions are not sufficient. To begin with, the only information we
+have as to the morning-room is that it is in Algernon Moncrieff&#39;s
+flat in Half Moon Street, and that it is &quot;<i>luxuriously and
+artistically furnished</i>.&quot; The next directions&mdash;&quot;<span
+class="smcap">LANE</span> <i>is arranging tea on a
+table</i>&quot;&mdash;prove that there <i>is</i> a tea-table with tea
+things on it. We are therefore dependent on the ensuing dialogue and the
+implied or briefly described action to furnish clues as to the
+entrances, furniture, and &quot;props&quot; which will be required in
+the course of the act. It is, of course, the director&#39;s and the
+stage manager&#39;s business to go through the play beforehand, and have
+all these points well in mind. Let us now see how this is done, and
+proceed to block out the first part of the play.</p>
+
+<p class="indent">The room evidently at least has two doors: one leading
+into the hallway&mdash;up-stage Center&mdash;the other halfway
+down-stage Right,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a
+href="#Footnote_3_3" class="fnanchor">[3]</a> let us say for the
+present, as in the diagram:</p>
+
+<p class="indent"><span class="pagenum"><a name="page29" id="page29"></a>[pg&nbsp;29]</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p29a.png" width="500" height="185" alt="" title="" />
+</div>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_3_3" id="Footnote_3_3"></a>
+<a href="#FNanchor_3_3">
+<span class="label">[3]</span></a>
+Right and Left in stage directions mean from the actors&#39; point of
+view. Up-stage and down-stage mean respectively away from and toward the
+footlights.</p>
+</div>
+</div>
+
+<p class="indent">Before Algernon&#39;s entrance, Lane, the butler, is
+preparing tea. Where is the table? Some subsequent business may
+necessitate its being in a position different from the one first chosen,
+but let us assume that it is up-stage to the right:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p29b.png" width="500" height="204" alt="" title="" />
+</div>
+
+<p class="indent">There it is not likely to be in the way of the actors;
+furthermore, it is not on the same side of the stage as the
+sofa&mdash;which is the next article of furniture to be placed. If the
+table and the sofa and the door were all on the same side of the stage,
+it would be much too crowded, especially as the larger part of the
+subsequent action revolves about them.</p>
+
+<p class="indent"><span class="pagenum"><a name="page30" id="page30"></a>[pg&nbsp;30]</span>
+Lane, then, is busied with the tea things for a moment, as and after the
+curtain rises. Then the music of a piano is heard off-stage to the
+right. It stops, and a moment later Algernon enters. As he evidently has
+nothing in particular to do at that moment, he may stand at the center
+of the stage, facing Lane, who stops his work and respectfully answers
+his master&#39;s questions. When Algernon says: &quot;And, speaking of
+the science of Life, have you got the cucumber sandwiches cut for Lady
+Bracknell?&quot;, what more natural than that he should look in the
+direction of the table, and perhaps even make a step toward it? Lane
+then goes to the table, takes up the salver with the sandwiches on it,
+and hands it to Algernon. Here there are no other directions than
+<i>&quot;Hands them on salver</i>.&quot; The other &quot;business&quot;
+is inferred from the dialogue. Algernon then &quot;<i>Inspects them,
+takes two, and sits down on the sofa</i>.&quot;</p>
+
+<p class="indent">This is the first reference to the sofa. The original
+prompt-copy must, of course, have made clear exactly where each article
+of furniture stood, but, for the reasons above enumerated, let us place
+the sofa as in the diagram:</p>
+
+<p class="indent"><span class="pagenum"><a name="page31" id="page31"></a>[pg&nbsp;31]</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p31a.png" width="500" height="202" alt="" title="" />
+</div>
+
+<p class="indent">Notice now that nothing is said of the salver. But
+from the direction near the top of page 3&mdash;(Luce and Baker
+editions) &quot;<i>Goes over and takes sandwich</i>&quot;&mdash;we may
+assume that Lane takes the salver back to the table. Undoubtedly, he
+does this as Algernon sits on the sofa. This stage direction should be
+indicated in the prompt-copy, as well as in that of the actor playing
+Lane, as follows:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p31b.png" width="500" height="200" alt="" title="" />
+</div>
+
+<p class="indent">As soon as Lane has done this, or even before,
+Algernon resumes his conversation, while Lane turns and listens to him.
+Lane stands somewhere between the table and the sofa,
+<span class="pagenum"><a name="page32" id="page32"></a>[pg&nbsp;32]</span>
+at a respectful distance from Algernon. The next &quot;business&quot;
+occurs when Algernon says &quot;That will do, Lane, thank you&quot;, and
+Lane replies &quot;Thank you, sir&quot;, and goes out. This brings up
+another question which is not answered, as yet at least, in the text.
+Does Lane go out Right? Possibly; or is there another entrance Left,
+leading to the butler&#39;s room? So far as we are able to determine,
+there is no good reason why the room to the right, where Algernon was
+playing, should not lead to the butler&#39;s room, or to wherever he is
+supposed to go. And in this case, there is no reason why Lane cannot,
+during Algernon&#39;s soliloquy, have heard the doorbell ring, answered
+it, and been ready to reënter, announcing, as he does: &quot;Mr. Ernest
+Worthing.&quot; Jack then enters, Right. Although again there is no
+stage direction, it is likely that Algernon rises to greet his friend
+and shake hands with him.</p>
+
+<p class="indent">Once more, the stage directions, or rather the want of
+them, are apt to confuse. On the top of page 3, we read that Jack pulls
+&quot;<i>off his gloves</i>.&quot; He wears a hat, of course, and
+probably a coat. He carries his hat in his hand, but presumably still
+wears his coat,
+<span class="pagenum"><a name="page33" id="page33"></a>[pg&nbsp;33]</span>
+and certainly his gloves. Lane, before he leaves, would undoubtedly take
+Jack&#39;s hat, help him off with his coat, and take them out with him.
+Then, before the two men shake hands&mdash;if they do&mdash;Jack pulls
+off his gloves. Jack&#39;s line, &quot;Eating as usual, I see,
+Algy,&quot; is sufficient indication to prove that in one hand Algernon
+holds a sandwich. Algernon then sits down. The dramatist would surely
+have mentioned Jack&#39;s sitting down if that had been his intention;
+therefore Jack may stand. Now comes the direction about Jack&#39;s
+&quot;Pulling off his gloves.&quot; What does he do with them? For the
+present, at least, let us allow him to go to the tea table, and lay them
+on it. A moment later, Algernon &quot;<i>Goes over and takes
+sandwich</i>.&quot; He stands by the table, eating, and this attracts
+Jack&#39;s attention to the somewhat elaborate preparations for tea.
+Algernon then says: &quot;By the way, Shropshire is your county, is it
+not?&quot; But Jack, too engrossed in the preparations, scarcely hears
+the other, and answers: &quot;Eh? Shropshire? Yes, of course,&quot; and
+so on. Then he evidently goes to the tea table.</p>
+
+<p class="indent">This is the general method of attack to be pursued. It
+may be that later in the same
+<span class="pagenum"><a name="page34" id="page34"></a>[pg&nbsp;34]</span>
+scene it will be necessary to go back and undo some of the
+&quot;business&quot;, because the only available text of this
+play&mdash;and this is almost always true of printed plays&mdash;is not
+in prompt-copy form. The making, therefore, of a prompt-copy is a slow
+process. First, the director goes through the play and plans in a
+general way what the action is to be, but only by rehearsing his cast on
+a particular stage and under specific conditions, is he able to know
+every detail of the action. By the time the actors are letter-perfect,
+the prompt-copy ought likewise to be fairly perfect. It is always
+dangerous to change &quot;business&quot; after the actors have memorized
+their parts.</p>
+
+<p class="indent">During this preliminary blocking-out process, little
+or no attention need be paid to details: the mere outlining of the
+action, together with the reading of the lines by the actors, is
+sufficient.</p>
+
+<p class="indent">Sometimes printed plays suffer from too many stage
+directions, and occasionally even the careful Bernard Shaw, as the
+following extract will prove, is far from clear. Here are the opening
+pages of &quot;You Never Can Tell&quot;:<a name="FNanchor_4_4"
+id="FNanchor_4_4"></a><a href="#Footnote_4_4"
+class="fnanchor">[4]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_4_4" id="Footnote_4_4"></a>
+<a href="#FNanchor_4_4">
+<span class="label">[4]</span></a>
+Published separately by Brentano&#39;s.</p>
+</div>
+</div>
+
+<p class="indent"><span class="pagenum"><a name="page35" id="page35"></a>[pg&nbsp;35]</span></p>
+
+<blockquote>
+<p class="indent"><i>In a dentist&#39;s operating room on a fine August
+morning in 1896. Not the usual tiny London den, but the best
+sitting-room of a furnished lodging in a terrace on the sea front at a
+fashionable watering place. The operating chair, with a gas pump and
+cylinder beside it, is half way between the center of the room and one
+of the corners. If you look into the room through the window which
+lights it, you will see the fireplace in the middle of the wall opposite
+you, with the door beside it to your left; an M.R.C.S. diploma in a
+frame hung on the chimneypiece; an easy chair covered in black leather
+on the hearth; a neat stool and bench, with vice, tools, and a mortar
+and pestle in the corner to the right. Near this bench stands a slender
+machine like a whip provided with a stand, a pedal, and an exaggerated
+winch. Recognizing this as a dental drill, you shudder and look away to
+your left, where you can see another window, underneath which stands a
+writing table, with a blotter and a diary on it, and a chair. Next the
+writing table, towards the door, is a leather covered sofa. The opposite
+wall, close on your right, is occupied mostly by a bookcase. The
+operating chair is under your nose, facing you, with the cabinet of
+instruments handy to it on your left.</i>
+<span class="pagenum"><a name="page36" id="page36"></a>[pg&nbsp;36]</span>
+<i>You observe that the professional furniture and apparatus are new,
+and that the wall paper, designed, with the taste of an undertaker, in
+festoons and urns, the carpet with its symmetrical plans of rich,
+cabbagy nosegays, the glass gasalier with lustres, the ornamental,
+gilt-rimmed blue candlesticks on the ends of the mantelshelf, also
+glass-draped with lustres, and the ormolu clock under a glass cover in
+the middle between them, its uselessness emphasized by a cheap American
+clock disrespectfully placed beside it and now indicating 12 o&#39;clock
+noon, all combine with the black marble which gives the fireplace the
+air of a miniature family vault, to suggest early Victorian commercial
+respectability, belief in money, Bible fetichism, fear of hell always at
+war with fear of poverty, instinctive horror of the passionate character
+of art, love and the Roman Catholic religion, and all the first fruits
+of plutocracy in the early generations of the industrial
+revolution.</i></p>
+
+<p class="indent"><i>There is no shadow of this on the two persons who
+are occupying the room just now. One of them, a very pretty woman in
+miniature, her tiny figure dressed with the daintiest gaiety, is of a
+later generation, being hardly eighteen yet. This darling little
+creature clearly does not belong</i>
+<span class="pagenum"><a name="page37" id="page37"></a>[pg&nbsp;37]</span>
+<i>to the room, or even to the country; for her complexion, though very
+delicate, has been burnt biscuit color by some warmer sun than
+England&#39;s; and yet there is, for a very subtle observer, a link
+between them. For she has a glass of water in her hand, and a rapidly
+clearing cloud of spartan obstinacy on her tiny firm mouth and quaintly
+squared eyebrows. If the least line of conscience could be traced
+between those eyebrows, an Evangelical might cherish some faint hope of
+finding her a sheep in wolf&#39;s clothing&mdash;for her frock is
+recklessly pretty&mdash;but as the cloud vanishes it leaves her frontal
+sinus as smoothly free from conviction of sin as a kitten&#39;s.</i></p>
+
+<p class="indent"><i>The dentist, contemplating her with the
+self-satisfaction of a successful operator, is a young man of thirty or
+thereabouts. He does not give the impression of being much of a workman:
+his professional manner evidently strikes him as being a joke; and it is
+underlain by a thoughtless pleasantry which betrays the young gentleman
+still unsettled and in search of amusing adventures, behind the newly
+set-up dentist in search of patients. He is not without gravity of
+demeanor; but the strained nostrils stamp it as the gravity of the
+humorist. His eyes are clear,</i>
+<span class="pagenum"><a name="page38" id="page38"></a>[pg&nbsp;38]</span>
+<i>alert, of sceptically moderate size, and yet a little rash; his
+forehead is an excellent one, with plenty of room behind it; his nose
+and chin cavalierly handsome. On the whole, an attractive, noticeable
+beginner, of whose prospects a man of business might form a tolerably
+favorable estimate.</i></p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY</span> (<i>handing
+him the glass</i>). Thank you. (<i>In spite of the biscuit complexion
+she has not the slightest foreign accent.</i>)</p>
+
+<p class="indent"><span class="smcap">THE DENTIST</span> (<i>putting it
+down on the ledge of his cabinet of instruments</i>). That was my first
+tooth.</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY</span>
+(<i>aghast</i>). Your first! Do you mean to say that you began
+practising on me?</p>
+
+<p class="indent"><span class="smcap">THE DENTIST.</span> Every dentist
+has to begin on somebody.</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY.</span> Yes:
+somebody in a hospital, not people who pay.</p>
+
+<p class="indent"><span class="smcap">THE DENTIST</span>
+(<i>laughing</i>). Oh, the hospital doesn&#39;t count. I only meant my
+first tooth in private practice. Why didn&#39;t you let me give you
+gas?</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY.</span> Because you
+said it would be five shillings extra.</p>
+
+<p class="indent"><span class="smcap">THE DENTIST</span>
+(<i>shocked</i>). Oh, don&#39;t say that. It makes me feel as if I had
+hurt you for the sake of five shillings.</p>
+
+<p class="indent"><span class="pagenum"><a name="page39" id="page39"></a>[pg&nbsp;39]</span>
+<span class="smcap">THE YOUNG LADY</span> (<i>with cool insolence</i>).
+Well, so you have! (<i>She gets up.</i>) Why shouldn&#39;t you? it&#39;s
+your business to hurt people. (<i>It amuses him to be treated in this
+fashion; he chuckles secretly as he proceeds to clean and replace his
+instruments. She shakes her dress into order, looks inquisitively about
+her; and goes to the window.</i>) You have a good view of the sea from
+these rooms! Are they expensive?</p>
+
+<p class="indent"><span class="smcap">THE DENTIST.</span> Yes.</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY.</span> You
+don&#39;t own the whole house, do you?</p>
+
+<p class="indent"><span class="smcap">THE DENTIST.</span> No.</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY</span> (<i>taking
+the chair which stands at the writing table and looking critically at it
+as she spins it round on one leg</i>). Your furniture isn&#39;t quite
+the latest thing, is it?</p>
+
+<p class="indent"><span class="smcap">THE DENTIST.</span> It&#39;s my
+landlord&#39;s.</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY.</span> Does he own
+that nice comfortable Bath chair? (<i>pointing to the operating
+chair</i>).</p>
+
+<p class="indent"><span class="smcap">THE DENTIST.</span> No: I have
+that on the hire-purchase system.</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY</span>
+(<i>disparagingly</i>). I thought so. (<i>Looking about her again in
+search of further conclusion.</i>) I suppose you haven&#39;t been here
+long?</p>
+
+<p class="indent"><span class="pagenum"><a name="page40" id="page40"></a>[pg&nbsp;40]</span>
+<span class="smcap">THE DENTIST.</span> Six weeks. Is there anything
+else you would like to know?</p>
+
+<p class="indent"><span class="smcap">THE YOUNG LADY</span> (<i>the hint
+quite lost on her</i>). Any family?</p> </blockquote>
+
+<p class="indent">Shaw&#39;s stage directions here are more than
+sufficient: they are intended not only for the director, stage manager,
+property man, scene painter, and actor, but for the reader as well. His
+directions are always stimulating and suggestive, and should be studied
+by the actors; but, from the point of view of the director and stage
+manager, they are bewilderingly diffuse and sometimes confusing. The
+fact, for instance, that the action takes place precisely in 1896, can
+be of little interest to the manager. Nor can a clock indicate twelve
+o&#39;clock &quot;noon.&quot; In such stage directions as these the
+director will therefore have to separate the purely mechanical elements
+from the literary and atmospheric. Let us now apply ourselves to the
+rather difficult task of making a diagram of the stage and its
+settings.</p>
+
+<p class="indent">It is a &quot;fine August morning.&quot; The sun is
+shining out-of-doors and, as the room looks out over the sea, the stage
+must be lighted through one of the windows. The dramatist
+<span class="pagenum"><a name="page41" id="page41"></a>[pg&nbsp;41]</span>
+goes on to say that the room is &quot;<i>Not the usual tiny London den,
+but the best sitting room of a furnished lodging.</i>&quot; By
+inference, it is a large room. The operating chair is &quot;<i>half way
+between the center of the room and one of the corners</i>.&quot; Which
+corner is not designated. Let us try to plot out the stage on the
+assumption that we are looking at it through a window halfway down-stage
+on the left (the actor&#39;s left, of course). The window which lights
+the room is placed thus:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p41a.png" width="500" height="182" alt="" title="" />
+</div>
+
+<p class="indent">Looking through this window, &quot;<i>you will see the
+fireplace in the middle of the wall opposite you, with the door beside
+it to your left</i>&quot;:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p41b.png" width="500" height="181" alt="" title="" />
+</div>
+
+<p class="indent"><span class="pagenum"><a name="page42" id="page42"></a>[pg&nbsp;42]</span>
+The next article of furniture mentioned is the easy chair &quot;<i>on
+the hearth</i>&quot;:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p42a.png" width="500" height="186" alt="" title="" />
+</div>
+
+<p class="indent">Then come &quot;<i>a neat stool and bench</i>&quot;
+and, near them, a dental drill:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p42b.png" width="500" height="188" alt="" title="" />
+</div>
+
+<p class="indent">&quot;<i>Near it</i>&quot; is not definite, but for
+the time being, let us allow it to stand up-stage near the stool and
+bench, but a little toward Center. Next, you &quot;<i>look away to your
+left, where you can see another window</i>.&quot; The direction here is
+not practicable, but the window may well go above the fireplace, instead
+of below, thus:</p>
+
+<p class="indent"><span class="pagenum"><a name="page43" id="page43"></a>[pg&nbsp;43]</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p43a.png" width="500" height="189" alt="" title="" />
+</div>
+
+<p class="indent">Underneath this window stands a writing table and a
+chair:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p43b.png" width="500" height="183" alt="" title="" />
+</div>
+
+<p class="indent">&quot;<i>Next the writing table, towards the door, is
+a leather covered sofa.</i>&quot; To add another article of furniture to
+this already crowded side of the stage would not only make the room
+appear unnatural to the audience, but would render it impossible for the
+actors to move about with ease. The director will therefore have to use
+his ingenuity and judgment as to where to put the sofa. Some subsequent
+&quot;business&quot; may necessitate a change of the disposition of more
+than one chair or sofa or stool, but the process here outlined is the
+first
+<span class="pagenum"><a name="page44" id="page44"></a>[pg&nbsp;44]</span>
+step. To proceed: the sofa, then, must be placed somewhere else. But
+where? By moving the drill to the left, in the corner, the sofa can be
+placed next to the table, as follows:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p44a.png" width="500" height="185" alt="" title="" />
+</div>
+
+<p class="indent">&quot;<i>The opposite wall, close on your right, is
+occupied mostly by a bookcase. The operating chair is under your nose,
+facing you, with the cabinet of instruments handy to it on your
+left.</i>&quot;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p44b.png" width="500" height="183" alt="" title="" />
+</div>
+
+<p class="indent">It is at once observed how necessary it was to move
+the drill from the other side of the room to this: over by the table, it
+would be out of convenient reach of the dentist.</p>
+
+<p class="indent"><span class="pagenum"><a name="page45" id="page45"></a>[pg&nbsp;45]</span>
+The difficulty of arranging the stage in this case will at once prove
+the imperative need of going through the play with the utmost attention
+to stage directions and <i>lines</i>, in order to make an accurate
+series of stage diagrams, property, light, and furniture plots.</p>
+
+<p class="indent">Notice that in the preliminary stage directions the
+center entrance is not designated. It soon becomes evident, however,
+that a center door (or one, at least, at the back of the stage) is taken
+for granted.</p>
+
+<p class="indent">This elementary diagram will serve as a working basis.
+A very little rehearsing will soon make it necessary to arrange the
+furniture, and so on, in a manner more pleasing to the eye and more
+convenient to the actor.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p45.png" width="500" height="234" alt="" title="" />
+</div>
+
+<p class="indent">There is one more kind of text with which amateurs
+have to do: it is the reprint of
+<span class="pagenum"><a name="page46" id="page46"></a>[pg&nbsp;46]</span>
+actual prompt-copies, and is usually accurate in material details. The
+following extract is from the opening pages of the fourth act of Henry
+Arthur Jones&#39;s &quot;The Liars&quot; (in the special edition
+published by Samuel French):</p>
+
+<blockquote>
+<p class="indent"><i>Scene: Drawing-room in Sir Christopher&#39;s flat
+in Victoria Street. L. at back is a large recess, taking up half the
+stage. The right half is taken up by an inner room furnished as library
+and smoking-room. Curtains dividing library from drawing-room. Door
+up-stage, L. A table down-stage, R. The room is in great confusion, with
+portmanteau open, clothes, etc., scattered over the floor; articles
+which an officer going to Central Africa might want are lying
+about.</i></p>
+</blockquote>
+
+<p class="indent">The diagram, as given in the text, is this:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p46.png" width="500" height="250" alt="" title="" />
+</div>
+
+<p class="indent"><span class="pagenum"><a name="page47" id="page47"></a>[pg&nbsp;47]</span>
+This is merely a skeleton, as it were, of a diagram, but first, the
+preliminary stage directions&mdash;quoted above&mdash;and the detailed
+and full marginal and other stage directions in the text, make clear
+every crossing, entrance, and exit, and designate at least the important
+articles of furniture and &quot;props.&quot; For example, it is learned
+from the text on the first and second pages of the act, that there is a
+uniform case &quot;up-Center&quot;&mdash;up-stage, that is, in the
+center of it; a folding stool by the table; a trunk to the left of
+Center; and a sofa on the extreme left. Unlike the quotations from the
+Wilde and Shaw plays, those of Jones supply all necessary information to
+the stage manager and the actors. Of course, as always, modifications
+must be made to meet the exigencies of certain stages and certain
+actors, but these are minor matters.</p>
+
+<p class="indent">The fundamental principles of this preliminary
+blocking-out having been laid down, we shall now proceed to a
+consideration of the infinitely varied problems of grouping and detailed
+stage business.</p>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill48" id="ill48"></a>
+<img src="images/ill05.png" width="600" height="388" alt="" title="" />
+<p class="caption"><span class="smcap">Set for Musset&#39;s &quot;Whims&quot;, produced by The Washington Square Players.</span></p>
+
+<p class="center">(Courtesy of The Washington Square Players).</p>
+</div>
+
+<hr class="hr2" />
+
+<p><span class="pagenum"><a name="page48" id="page48"></a>[pg&nbsp;48]</span></p>
+
+<h2>CHAPTER V</h2>
+
+<h3>REHEARSING<br/>
+II</h3>
+
+<p class="indent"><span class="smcap">While</span> it is true that the
+possibilities of variation in the matter of grouping, crossing, and so
+on, are infinite, still there are some definite principles to be
+followed.</p>
+
+<p class="indent">Suppose that the blocking-out process is over with,
+and the actors have a fair idea of their entrances, positions, business,
+and exits. The two following extracts (the first from the third act of
+Jones&#39;s &quot;The Liars&quot;, the second from Edouard
+Pailleron&#39;s &quot;The Art of Being Bored&quot;) serve to illustrate
+two ways of going about the problem of grouping actors on the stage. The
+first contains specific directions, the second only the merest
+suggestions. Below is the diagram of the stage in the third act of
+&quot;The Liars&quot;:</p>
+
+<p class="indent"><span class="pagenum"><a name="page49" id="page49"></a>[pg&nbsp;49]</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p49a.png" width="500" height="275" alt="" title="" />
+</div>
+
+<p class="indent">Up to page 107, which is reproduced on page 50, the
+characters are grouped as indicated:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p49b.png" width="500" height="225" alt="" title="" />
+</div>
+
+<p class="indent">Following carefully the stage directions in the
+text and on the margin, the action is traced as
+follows:</p>
+
+<p class="indent">Mrs. Crespin shakes hands with Sir Christopher. Then
+(marginal note) &quot;<i>Sir C. opens door L. for Mrs.
+Crespin</i>&quot;:</p>
+
+<p class="indent"><span class="pagenum"><a name="page50" id="page50"></a>[pg&nbsp;50]</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p50.png" width="500" height="257" alt="" title="" />
+</div>
+
+<blockquote>
+<p class="indent">(<i>Exit</i> <span class="smcap">Mrs. Crespin</span>.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a
+href="#Footnote_5_5" class="fnanchor">[5]</a> <i>They all stand looking
+at each other, nonplussed.</i> <span class="smcap">Sir
+Christopher</span> <i>slightly touching his head with perplexed
+gesture</i>.)</p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_5_5" id="Footnote_5_5"></a>
+<a href="#FNanchor_5_5">
+<span class="label">[5]</span></a>
+<i>Sir C. opens door L. for Mrs. Crespin; after her exit, closes door.
+They all turn and look at Sir C. He sinks into a chair up C., and shakes
+his head at them.</i></p>
+</div>
+</div>
+
+<blockquote>
+<p class="center"><span class="smcap">Sir C.</span></p>
+
+<p class="indent">Our fib won&#39;t do.</p>
+
+<p class="center"><span class="smcap">Lady R.</span></p>
+
+<p class="indent">Freddie, you incomparable nincompoop!</p>
+
+<p class="center"><span class="smcap">Freddie.</span></p>
+
+<p class="indent">I like that! If I hadn&#39;t asked her, what would
+have happened? George Nepean would have come in, you&#39;d have plumped
+down on him with your lie, and what then? Don&#39;t you think it&#39;s
+jolly lucky I said what I did?<a name="FNanchor_6_6"
+id="FNanchor_6_6"></a><a href="#Footnote_6_6"
+class="fnanchor">[6]</a></p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_6_6" id="Footnote_6_6"></a>
+<a href="#FNanchor_6_6">
+<span class="label">[6]</span></a>
+<i>Lady Jess. sits L.C. Sir Chris. puts hat on bookcase C., and comes
+down C.</i></p>
+</div>
+</div>
+
+<blockquote>
+<p class="center"><span class="smcap">Sir C.</span></p>
+
+<p class="indent">It&#39;s lucky in this instance. But if I am to embark
+any further in these imaginative enterprises, I must ask you, Freddie,
+to keep a silent tongue.</p>
+
+<p class="center"><span class="smcap">Freddie.</span></p>
+
+<p class="indent">What for?</p>
+
+<p class="center"><span class="smcap">Sir C.</span></p>
+
+<p class="indent">Well, old fellow, it may be an unpalatable truth to
+you, but you&#39;ll never make a good liar.<a name="FNanchor_7_7"
+id="FNanchor_7_7"></a><a href="#Footnote_7_7"
+class="fnanchor">[7]</a></p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_7_7" id="Footnote_7_7"></a>
+<a href="#FNanchor_7_7">
+<span class="label">[7]</span></a>
+<i>Lady R. and Lady Jess. agree with Sir C.</i></p>
+</div>
+</div>
+
+<blockquote>
+<p class="center"><span class="smcap">Freddie.</span></p>
+
+<p class="indent">Very likely not. But if this sort of thing is going on
+in my house, I think I ought to.</p>
+
+<p class="center"><span class="smcap">Lady R.</span><a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_8_8" id="Footnote_8_8"></a>
+<a href="#FNanchor_8_8">
+<span class="label">[8]</span></a>
+<i>Crosses to him C. Freddie sits R.C. annoyed.</i></p>
+</div>
+</div>
+
+<blockquote>
+<p class="indent">Oh, do subside, Freddie, do subside!</p>
+
+<p class="indent"><span class="smcap">Lady J.</span><a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_9_9" id="Footnote_9_9"></a>
+<a href="#FNanchor_9_9">
+<span class="label">[9]</span></a>
+<i>5th call. George.</i></p>
+</div>
+</div>
+
+<blockquote>
+<p class="indent">Yes, George&mdash;and perhaps Gilbert&mdash;will be
+here directly. Oh, will somebody tell me what to do?</p>
+</blockquote>
+
+<p class="indent"><span class="pagenum"><a name="page51" id="page51"></a>[pg&nbsp;51]</span>
+Then, &quot;<i>after her exit, closes door</i>. <i>They all turn and
+look at Sir C. He sinks into a chair and shakes his head at
+them.</i>&quot; Into which chair does he sink? Since in a moment he must
+put his hat on the bookcase, Center, he had better sit on the chair to
+the right of it:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p51a.png" width="500" height="231" alt="" title="" />
+</div>
+
+<p class="indent">Then, at the end of Freddie&#39;s speech,
+&quot;<i>Lady Jess. sits L.C.</i> [left of Center]. <i>Sir Chris. puts
+hat on bookcase C., and comes down C.</i>&quot;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p51b.png" width="500" height="230" alt="" title="" />
+</div>
+
+<p class="indent">The last speech of Lady Rosamund on this page is
+accompanied by the following stage
+<span class="pagenum"><a name="page52" id="page52"></a>[pg&nbsp;52]</span>
+direction: &quot;<i>Crosses to him</i> [Sir Christopher] <i>C. Freddie
+sits R.C. annoyed</i>.&quot;</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p52.png" width="500" height="239" alt="" title="" />
+</div>
+
+<p class="indent">This is very simple, but only in the rarest instances
+are stage directions so carefully worked out and indicated. The director
+will usually be confronted by long pages where there are few or no
+definite or dependable directions. The original text of Shakespeare
+affords us only the most elementary explanations of stage
+&quot;business&quot;, so that when Shakespeare is produced it is wisest
+to use one of the many stage editions, in which the traditional
+directions, or others equally good, are given at some length. Usually,
+however, the director will be aided by directions which are fairly full
+and fairly accurate, but never quite dependable. The following
+excerpt&mdash;from &quot;The Art of Being Bored&quot;&mdash;contains the
+<span class="pagenum"><a name="page53" id="page53"></a>[pg&nbsp;53]</span>
+ordinary sort of directions, the kind that are found in good plays and
+bad. The set is described in the first act as being:</p>
+
+<blockquote>
+<p class="indent">&quot;<i>A drawing-room, with a large entrance at the
+back, opening upon another room. Entrances up- and down-stage. To the
+left, between the two doors, a piano. Right, an entrance down-stage;
+farther up, a large alcove with a glazed door leading into the garden; a
+table, on either side of which is a chair; to the right, a small table
+and a sofa; arm-chairs, etc.</i>&quot;</p>
+</blockquote>
+
+<p class="indent">This may be plotted in the following manner:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p53.png" width="500" height="248" alt="" title="" />
+</div>
+
+<p class="indent">There are no specific directions as to the position of
+the sofa and chairs, but as a large number of characters are on the
+stage at one time, a great many will be necessary. The exact number of
+chairs, as well as the positions they will have to occupy, depend
+largely on
+<span class="pagenum"><a name="page54" id="page54"></a>[pg&nbsp;54]</span>
+the size and shape of the stage. The above diagram will serve at first
+as a working basis. Turning to the opening of the second act, we find
+the following directions:</p>
+
+<blockquote>
+<p class="indent">(<i>Same as Act 1.</i></p>
+
+<p class="indent">(<i>Bellac, Toulonnier, Roger, Paul Raymond, Madame de
+Céran, Madame de Loudan, Madame Arriégo, the Duchess, Suzanne, Lucy,
+Jeanne seated in a semi-circle, listening to Saint-Réault, who is
+finishing his lecture</i>).</p>
+</blockquote>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p54.png" width="500" height="228" alt="" title="" />
+</div>
+
+<blockquote>
+<p class="indent"><span class="smcap">SAINT-RÉAULT.</span> And, make no
+mistake about it! Profound as these legends may appear because of their
+baffling exoticism, they are merely&mdash;my illustrious father wrote in
+1834&mdash;elemental, primitive imaginings in comparison with the
+transcendental conceptions of Brahmin lore, gathered together in the
+Upanishads, or indeed in the eighteen Paranas of Vyasa, the compiler of
+the Vedda.</p>
+</blockquote>
+
+<p class="indent"><span class="pagenum"><a name="page55" id="page55"></a>[pg&nbsp;55]</span></p>
+
+<blockquote>
+<p class="indent"><span class="smcap">JEANNE</span> (<i>aside to
+Paul</i>). Are you asleep?</p>
+
+<p class="indent"><span class="smcap">PAUL.</span> No, no&mdash;I hear
+some kind of gibberish.</p>
+
+<p class="indent"><span class="smcap">SAINT-RÉAULT.</span> Such, in
+simple terminology, is the <i>concretum</i> of the doctrine of
+Buddha.&mdash;And at this point I shall close my remarks.</p>
+
+<p class="indent">(<i>Murmurs. Some of the audience rise</i>).</p>
+</blockquote>
+
+<p class="indent">Here two or three&mdash;Bellac and Roger, and one of
+the ladies, let us say&mdash;rise, and chat in undertones in a small
+group among themselves.</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">SEVERAL VOICES</span>
+(<i>weakly</i>). Very good! Good!</p>
+
+<p class="indent"><span class="smcap">SAINT-RÉAULT.</span> And
+now&mdash;(<i>He coughs</i>).</p>
+
+<p class="indent"><span class="smcap">MADAME DE CÉRAN</span>
+(<i>eagerly</i>). You must be tired, Saint-Réault?</p>
+</blockquote>
+
+<p class="indent">At this, Madame de Céran might well rise,
+as if to put an end to Saint-Réault&#39;s speech.
+The others are impatient, and perhaps one or
+two start to rise. The others whisper, or appear
+to do so. Then Saint-Réault continues:</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">SAINT-RÉAULT.</span> Not at all,
+Countess!</p>
+
+<p class="indent"><span class="smcap">MADAME ARRIÉGO.</span> Oh, yes,
+you must be; rest yourself. We can wait.</p>
+</blockquote>
+
+<p class="indent">It is likely that here Madame Arriégo would
+<span class="pagenum"><a name="page56" id="page56"></a>[pg&nbsp;56]</span>
+rise and go to Saint-Réault. Two or three others would follow her.</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">SEVERAL VOICES.</span> You must
+rest!</p>
+
+<p class="indent"><span class="smcap">MADAME DE LOUDAN.</span> You
+can&#39;t always remain in the clouds. Come down to earth, Baron.</p>
+
+<p class="indent"><span class="smcap">SAINT-RÉAULT.</span> Thank you,
+but&mdash;well, you see, I had already finished.</p>
+
+<p class="center">(<i>Everybody rises</i>).</p>
+</blockquote>
+
+<p class="indent">Saint-Réault&#39;s audience may then form into small
+groups, somewhat as follows:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p56.png" width="500" height="226" alt="" title="" />
+</div>
+
+<p class="indent">Care must be taken not to give the stage a crowded
+appearance, nor yet an air of too well-ordered symmetry. To continue:</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">SEVERAL VOICES.</span> So
+interesting!&mdash;A little obscure!&mdash;Excellent!&mdash;Too
+long!</p>
+
+<p class="indent"><span class="smcap">BELLAC</span> (<i>to the
+ladies</i>). Too materialistic!</p>
+
+<p class="indent"><span class="pagenum"><a name="page57" id="page57"></a>[pg&nbsp;57]</span>
+<span class="smcap">PAUL</span> (<i>to Jeanne</i>). He&#39;s bungled it.</p>
+
+<p class="indent"><span class="smcap">SUSANNE</span> (<i>calling</i>). Monsieur Bellac!</p>
+
+<p class="indent"><span class="smcap">BELLAC.</span> Mademoiselle?</p>
+
+<p class="indent"><span class="smcap">SUSANNE.</span> Come here, near me.</p>
+
+<p class="center">(<i>Bellac goes to her</i>).</p>
+
+<p class="indent"><span class="smcap">ROGER</span> (<i>aside to the Duchess</i>). Aunt!</p>
+</blockquote>
+
+<p class="indent">The direction &quot;<i>aside to the Duchess</i>&quot;
+shows that (1) Roger, after the company rose, either went to the
+Duchess; or that, (2) meantime he goes to her. This may be done either
+way, so long as the two are within reasonable whispering distance.</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">DUCHESS</span> (<i>aside to
+Roger</i>). She&#39;s doing it on purpose!</p>
+
+<p class="indent"><span class="smcap">SAINT-RÉAULT</span> (<i>coming to
+table</i>). One word more! (<i>General surprise. The audience sit down
+in silence and consternation</i>).</p>
+</blockquote>
+
+<p class="indent">Bearing in mind the change of position of Bellac,
+Roger, and Saint-Réault, we may reseat the characters as follows:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p57.png" width="500" height="226" alt="" title="" />
+</div>
+
+<p class="indent"><span class="pagenum"><a name="page58" id="page58"></a>[pg&nbsp;58]</span>
+While, as has been said, grouping depends to a great extent on the size
+and shape of the stage, it should always be borne in mind that the stage
+should in most cases be made to resemble a picture as regards balance
+and composition. This means that the director must avoid crowding; that
+the actors must learn to take their places as part of that picture, and
+not attempt either to usurp the center of the stage or to disappear
+behind other actors. No grouping should ever be left to chance or the
+inspiration of the moment; every actor must have marked down in his own
+script every movement he makes. Groups and crowds require a great deal
+of rehearsing, in order that they may always assume the right position
+at the right moment.</p>
+
+<p class="indent">When an impression of vast numbers of people is
+desired&mdash;as in &quot;Julius Cæsar&quot;&mdash;large numbers of
+&quot;supes&quot; are not needed. Eight or ten or twelve people, well
+managed, are sufficient to create an effect of this sort on a small
+stage, and perhaps twenty on a large. The basic principle of the art of
+the theater is suggestion, not reproduction.</p>
+
+<p class="indent">In the &quot;forum scene&quot; of Shakespeare&#39;s
+&quot;Julius Cæsar&quot; there are practically no stage
+<span class="pagenum"><a name="page59" id="page59"></a>[pg&nbsp;59]</span>
+directions. The management of the mob, therefore, is left entirely to
+the director. When the Third Citizen says: &quot;The noble Brutus is
+ascended. Silence!&quot; we are of course given to understand&mdash;by
+the word &quot;Silence!&quot;&mdash;that there has been some noise and
+confusion. The text affords the most important indications.</p>
+
+<p class="indent">Plot out, for practice, the position of the various
+members of the mob throughout this scene.</p>
+
+<p class="indent">As a rule, the best impression of a crowd is made by
+massing and manipulating groups of from three to six individuals. If
+movement is demanded, it must be precise and measured out carefully
+during rehearsals. Therefore, since it is nearly always impossible to
+get trained actors to compose mobs, it is well to intersperse two or
+three &quot;leaders&quot; in any crowd, who will give the cue for
+concerted action.</p>
+
+<p class="indent">The foregoing discussion, both in the present and
+preceding chapter, has been made largely from the director&#39;s and the
+stage manager&#39;s viewpoint. Let us now go back to the actor, and
+suggest a few methods which will help him.</p>
+
+<p class="indent"><span class="pagenum"><a name="page60" id="page60"></a>[pg&nbsp;60]</span>
+An easy and vivid way of remembering
+&quot;business&quot; at first is to make a very simple
+diagram, thus:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p60a.png" width="500" height="196" alt="" title="" />
+</div>
+
+<p class="indent">Supposing A, who stands down-stage before the sofa,
+crosses up-stage to the small table, as he says: &quot;I&#39;ll not
+stand it any longer!&quot; Just after this line, the actor places a mark
+referring him to the margin of his &quot;script&quot;, and makes another
+diagram:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p60b.png" width="500" height="183" alt="" title="" />
+</div>
+
+<p class="indent">This represents A crossing to up-stage, left of the
+small table. In this way, when the actor is studying his lines, he
+cannot help
+<span class="pagenum"><a name="page61" id="page61"></a>[pg&nbsp;61]</span>
+studying the &quot;business&quot;, and vice versa; and since lines and
+&quot;business&quot; almost always go hand in hand, he will run no
+danger of having first learned the one without the other.</p>
+
+<p class="indent">Considerable confusion is likely to arise when an
+overzealous director insists that his actors be &quot;letter
+perfect&quot; before the &quot;business&quot; is well formulated and
+worked out and thoroughly learned.</p>
+
+<p class="indent">In the first chapter on Rehearsing, the blocking-out
+process was discussed, but the order in which each act was to be
+rehearsed, the time to be spent on it, etc.&mdash;these matters were
+deferred, and will now be taken up.</p>
+
+<p class="indent">At the next rehearsal&mdash;that is, after the
+blocking-out of the first act&mdash;the second is treated in the same
+way. And after the last act has been blocked out, the first should be
+rehearsed with greater care. Details of &quot;business&quot;, grouping,
+the delivery of lines&mdash;especially the correction of errors in
+interpretation&mdash;must be carefully considered. Probably some of the
+&quot;business&quot; blocked out in the first rehearsal will have to be
+changed, or at least amplified. Entrances and exits must be repeatedly
+rehearsed until they go smoothly. The crossings and recrossing of one,
+two, or
+<span class="pagenum"><a name="page62" id="page62"></a>[pg&nbsp;62]</span>
+more characters, can scarcely be rehearsed too
+often.</p>
+
+<p class="indent">Let us take a few examples of this sort of detail
+work. A man comes home late, tired and hungry. Outside the sitting room
+through an open door, is seen the hatrack. How can this simple incident
+be made to appear true and interesting? Here is at least one manner of
+accomplishing it: a door is heard closing off-stage; footsteps resound
+in the hall. A, the man, appears, wearing a hat, overcoat, and gloves,
+at the Center door, looks into the room to see whether any one is
+present, seems surprised, utters a short exclamation, and then turns to
+the hatrack. His back to the audience, he takes off his hat, hangs it
+carelessly on a hook, then slowly draws off his gloves, allows his coat
+to fall from his shoulders, looks at himself in the glass for an
+instant, and then, with a sigh, comes into the room again.</p>
+
+<p class="indent">The incident, of course, is capable of a hundred
+variations, depending upon the character of the man, the circumstances
+under which he comes home, and so forth.</p>
+
+<p class="indent">Or, a little more complicated instance: A, B, and C,
+three men, are seated, talking after dinner. They are stationed as
+follows:</p>
+
+<p class="indent"><span class="pagenum"><a name="page63" id="page63"></a>[pg&nbsp;63]</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p63a.png" width="500" height="194" alt="" title="" />
+</div>
+
+<p class="indent">A sits on the arm of the davenport, B on the davenport
+itself, and C in a chair at the lower right-hand side of the table.</p>
+
+<p class="indent">Notice first that the davenport is not placed at right
+angles to the audience; this is done so that two people, sitting side by
+side, may be better seen by the &quot;house.&quot; Notice, too, that A
+is at the extreme left-hand corner of the davenport. Visualize this for
+an instant: here is proportion, line, and balance, but without the
+appearance of stiffness or symmetry, which should always be avoided. B
+rises and stands before the fireplace: again notice the grouping:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p63b.png" width="500" height="194" alt="" title="" />
+</div>
+
+<p class="indent"><span class="pagenum"><a name="page64" id="page64"></a>[pg&nbsp;64]</span>
+A then rises and goes to the center of the stage, standing near the left
+of the table:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p64.png" width="500" height="193" alt="" title="" />
+</div>
+
+<p class="indent">This simple moving about the room should never be
+obtrusive; that is to say, the audience must never be conscious of the
+director&#39;s hand. First, every bit of &quot;business&quot;, every
+move, every gesture, must be justified, otherwise it calls attention to
+itself. This is a distinct problem with amateurs, who naturally find it
+difficult not to move about when they have nothing else to do. They feel
+self-conscious unless they are &quot;acting.&quot; The best rule for any
+amateur&mdash;although it is again the director who is responsible and
+should look after this&mdash;is, never to do anything unless he knows
+precisely why he does it, and unless he <i>feels</i> it.</p>
+
+<p class="indent">One further example: imagine a five-minute
+conversation, in the text of which there are no stage directions. It is
+between two women:
+<span class="pagenum"><a name="page65" id="page65"></a>[pg&nbsp;65]</span>
+D and E. They are seated, one in an arm-chair by the fire, the other in
+an ordinary chair to the right of a library table:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p65.png" width="500" height="188" alt="" title="" />
+</div>
+
+<p class="indent">There are not many plays in which two characters
+<i>merely</i> converse for so long a period without well-motivated
+reasons, but it is well to take an extreme example. Let us assume that D
+is telling E the story of her life, and that for two minutes her speech
+contains little more than straight narrative. Suddenly she tells a sad
+incident, and E, who has a sympathetic nature, wipes her eyes with her
+handkerchief. D continues, and E, no longer able to restrain her tears
+but not wishing to show her emotion to D, rises and goes to the left of
+the stage for a moment or two. The long conversation scene is now broken
+up by a natural bit of action. While in life such a conversation might
+consume hours, on the stage it must be made more attractive and
+<span class="pagenum"><a name="page66" id="page66"></a>[pg&nbsp;66]</span>
+emotionally stimulating; in the theater, the appeal is through the eye
+and ear, to the emotions.</p>
+
+<p class="indent">Such a scene as the one just outlined must be
+repeatedly rehearsed, until every detail of the &quot;business&quot; is
+worked out perfectly.</p>
+
+<p class="indent">After approximately ten days&#39; work on the first
+act&mdash;during which period each of the other acts should be run
+through at least three times&mdash;the actors should be letter perfect
+and able to give a fairly smooth performance.</p>
+
+<p class="indent">Then the other acts are rehearsed in like manner. Each
+act, after it is finished in this way, must be rehearsed at least every
+three or four days. When all the acts have been worked out, then each
+rehearsal is devoted to going through the whole play. Minor points in
+acting, minor &quot;business&quot;, rendering of the lines, voice,
+gesture, etc., must naturally be insisted upon. Special cases must be
+dealt with outside the regular rehearsals, for the play should be
+interrupted as seldom as possible, because it is wise to let the actors
+become accustomed to going through the entire piece. It will be found
+expeditious, too, for small groups of characters who have scenes
+together to rehearse by themselves. The full rehearsals
+<span class="pagenum"><a name="page67" id="page67"></a>[pg&nbsp;67]</span>
+of the play are valuable both to actors and the director, for the latter
+is given a general view of his stage pictures which could in no other
+way be afforded him, and he is in a position to judge of his general and
+massed effects. At the same time the actors will more readily enter into
+the spirit of the work if they are permitted to play without
+interruption. Where the actors forget their lines, they should be
+prompted without other delay, but if they do anything actually wrong, or
+if the director wishes to make an important change, the performance
+must, of course, be stopped for a moment.</p>
+
+<p class="indent">The number of rehearsals necessary for the production
+of a play by amateurs depends largely on the attitude of the amateurs
+themselves, and the amount of time at their disposal. It is safe to say
+that ninety-nine out of a hundred such performances suffer noticeably
+from need of rehearsing. Nor is this to be wondered at, for the average
+professional play usually requires four or five weeks&#39;
+rehearsing&mdash;seven to eight hours daily&mdash;for six and sometimes
+seven days in the week! Of course, an amateur is an amateur because he
+is not a professional, and he cannot afford very much
+<span class="pagenum"><a name="page68" id="page68"></a>[pg&nbsp;68]</span>
+time for work which is after all only a pastime. One other point should
+be well borne in mind: the average amateur has not the patience of the
+professional. If he is rehearsed too long or too steadily, he will grow
+&quot;stale&quot;, and lose interest in his work.</p>
+
+<p class="indent">Still, no full-length play can safely be produced with
+less than four weeks&#39; work, on an average of five rehearsals of
+three hours each, per week. (This does not include special and
+individual outside rehearsals.) Four weeks is the shortest time that can
+be allowed, while six or seven should be devoted to it. So much time is
+not necessary in order that the company may attempt to become
+professionals; that would be impossible and not at all advisable. The
+amateur, if rightly trained, should be able to impart a certain natural,
+naïve, unprofessional tone to the part he is impersonating, but this can
+only be done by constant rehearsing. The director usually finds that the
+amateur&#39;s first instinct is to imitate the tricks of the
+professional actor, and not allow himself to <i>feel</i> the character
+of the rôle. The professional quickly assimilates mannerisms which are
+only too likely to become mechanical, but which the amateur, because he
+is an amateur,
+<span class="pagenum"><a name="page69" id="page69"></a>[pg&nbsp;69]</span>
+is not likely to learn, if at first he is trained to avoid them.</p>
+
+<p class="indent">There is no particular excuse for presenting plays
+which can be seen acted anywhere and any time by professionals; amateurs
+should strive to produce classics, or modern plays which for one reason
+or another are not often seen, and impart to them that peculiar flavor
+which charms as well as interests and attracts. Nor is there much use in
+the amateur actor&#39;s striving to become professional in manner: he
+cannot hope, in the short time he can spare for his work, to become a
+good professional; or, if he gives signs of becoming such, then he no
+longer belongs in amateur dramatics. Allow the amateur plenty of leeway
+in the matter of interpretation, if he has any original ideas of his
+own; but of course these must never be at variance with the general idea
+of the play. Let him work out his own salvation: here lies the value of
+amateur production, both to the actor and to the audience.</p>
+
+<p class="indent">Often amateurs are called upon to portray feelings,
+actions, passions, of which they have no knowledge or experience. Love
+scenes, for instance, are invariably difficult. In this case, the actors
+must be taught a few conventional
+<span class="pagenum"><a name="page70" id="page70"></a>[pg&nbsp;70]</span>
+gestures, attitudes, and tricks, but they should not be
+permitted&mdash;except in rare cases&mdash;to lay much stress on the
+acting. This also applies to such purely conventional matters as
+kissing, dying, fighting, etc., for which a set of recognized technical
+tricks has been evolved. Any competent director can train actors to do
+this.</p>
+
+<p class="indent">One more point before this part of rehearsing is
+dispensed with: amateur productions suffer largely from a lack of
+continuous tension and variety. Often the action is slow, jerky, and
+consequently tedious. Constant rehearsing, with a view to inspiring
+greater confidence and sureness in the actors, under a good director, is
+the best means to overcome these great drawbacks. The last eight or ten
+rehearsals, after the cast are familiar with their lines and
+&quot;business&quot;, are the most important in the matter of tempo.
+Details of shading, well-developed and modulated action, and a
+well-defined climax, are what must be worked for. When the actors are no
+longer thinking of when they must cross or sit down or rise, they are
+ready to enter whole-heartedly into the spirit of the play as an
+artistic unit.</p>
+
+<p class="indent">As an example, on a small scale, of how a scene may be
+modulated and shaded, two pages
+<span class="pagenum"><a name="page71" id="page71"></a>[pg&nbsp;71]</span>
+from Meilhac and Halévy&#39;s &quot;Indian Summer&quot;
+(published by Samuel French) are here reprinted
+with marginal notes explaining how
+these effects are obtained.</p>
+
+<table border="0" cellpadding="4" cellspacing="1" width="100%" summary="explanation">
+<tr>
+<td>
+<p><i>Slowly<br/>and<br/>quietly.</i></p>
+</td>
+<td>
+<p><span class="smcap">ADR.</span> Just a moment ago I forgot that such a thing was out of the question&mdash;</p>
+<p><span class="smcap">BRI.</span> Why out of the question&mdash;?</p>
+<p><span class="smcap">ADR.</span> Why, because&mdash;</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Slight increase<br/>of<br/>speed and<br/>tension.</i></p>
+</td>
+<td>
+<p><span class="smcap">BRI.</span> Because what? How much did that American family pay you? I&#39;ll give you twice as much&mdash;three times as much. Whatever you want!</p>
+<p><span class="smcap">ADR.</span> Only to read to you?</p>
+<p><span class="smcap">BRI.</span> Why, yes.</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Slowly<br/>rising<br/>tension<br/>and speed.</i></p>
+</td>
+<td>
+<p><span class="smcap">ADR.</span> That wouldn&#39;t be so bad&mdash;there&#39;s just one thing against it&mdash;it might be just a wee bit compromising!</p>
+<p><span class="smcap">BRI.</span> Oh!</p>
+<p><span class="smcap">ADR.</span> Really, don&#39;t you think so? Just a bit?</p>
+<p><span class="smcap">BRI.</span> At my age?</p>
+<p><span class="smcap">ADR.</span> (<i>gaily</i>). Oh, it&#39;s all very
+well&mdash;a young person like me&mdash;alone with you.
+(<i>Seriously.</i>) Oh, if you only didn&#39;t live alone&mdash;!</p>
+<p><span class="smcap">BRI.</span> If I&mdash;? If I weren&#39;t alone?</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Staccato.</i></p>
+</td>
+<td>
+<p><span class="smcap">ADR.</span> If you only had some
+relatives&mdash;married relatives&mdash;your nephew, for instance, with
+his wife&mdash;then I might&mdash;</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Emphasis</i></p>
+</td>
+<td>
+<p><span class="smcap">BRI.</span> Once more, don&#39;t speak to me
+of&mdash;! He&#39;s the one that brought all this trouble on
+us&mdash;that letter that forces you to&mdash;that letter came from him.</p>
+<p>(<span class="smcap">ADRIENNE</span> <i>makes a quick movement of
+protest</i>.) &#39;Tisn&#39;t his fault, I know, but I hold a grudge
+against him as if it were&mdash;</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Momentary<br/>pause.</i></p>
+</td>
+<td>
+<p><span class="smcap">ADR.</span> And yet, if I told you&mdash;</p>
+<p><span class="smcap">BRI.</span> (<i>stopping her</i>). Shh! If you please. (<i>Pause.</i>)</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Diminuendo.<br/>Tense,<br/>but quiet.</i></p>
+</td>
+<td>
+<p><span class="smcap">ADR.</span> (<i>moved</i>). Then I must go. That
+was the only way; and you don&#39;t want to do that. I&#39;m sure I
+don&#39;t know what will happen afterward. I still hope&mdash;But for
+the moment, I must (<i>Mild access of crying</i>). Oh I&#39;m
+sorry&mdash;so sorry&mdash;(<i>Falls into chair at side of
+table</i>).</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Slight increase<br/>again.</i></p>
+</td>
+<td>
+<p><span class="smcap">BRI.</span> (<i>excitedly</i>). Adrienne!</p>
+<p><span class="smcap">ADR.</span> (<i>recovering mastery over
+herself</i>). I beg your pardon&mdash;there! There! (<i>Brushing away
+her tears</i>). See, it&#39;s all over!</p>
+</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="page72" id="page72"></a>[pg&nbsp;72]</span></p>
+
+<table border="0" cellpadding="4" cellspacing="1" width="100%" summary="explanation2">
+<tr>
+<td>
+<p><i>Quickly<br/>increasing<br/>rise.</i></p>
+<p><i>Quickly.</i></p>
+</td>
+<td>
+<p><span class="smcap">BRI.</span> Adrienne!</p>
+<p><span class="smcap">ADR.</span> (<i>rising</i>). Monsieur!</p>
+<p><span class="smcap">BRI.</span> It&#39;s true, then, if there were
+some way, you would&mdash;? Not the way I mentioned just now&mdash;but
+another&mdash;you wouldn&#39;t leave, would you? You&#39;d stay
+here&mdash;near me&mdash;always&mdash;and be happy?</p>
+<p><span class="smcap">ADR.</span> (<i>lightly</i>). Oh yes, it&#39;s
+too&mdash;I say it from the bottom of my heart!</p>
+<p><span class="smcap">BRI.</span> Very well, you shan&#39;t go.</p>
+<p><span class="smcap">ADR.</span> I&mdash;?</p>
+<p><span class="smcap">BRI.</span> No, you shan&#39;t go.</p>
+<p><span class="smcap">ADR.</span> But&mdash;how?&mdash;Why?</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Moment<br/>of suspense.</i></p>
+</td>
+<td>
+<p><span class="smcap">BRI.</span> I have found a way!</p>
+<p><span class="smcap">ADR.</span> And it is?</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>Climax.</i></p>
+</td>
+<td>
+<p><span class="smcap">BRI.</span> To make you my wife!</p>
+<p><span class="smcap">ADR.</span> (<i>Sits down again,
+overcome</i>).</p>
+</td>
+</tr>
+
+<tr>
+<td>
+<p><i>High tension<br/>after the<br/>climax, and<br/>preparatory
+to<br/>another climax<br/>later on.</i></p>
+</td>
+<td>
+<p><span class="smcap">BRI.</span> I&#39;ll do it!&mdash;Go and speak to
+your Aunt&mdash;Here! Come here! (<i>Enter</i> <span
+class="smcap">NOEL</span>, <i>right, carrying a bundle of papers</i>).
+Come here! Don&#39;t be afraid! You may go and get your wife. Bring her
+here! I&#39;ll forgive her as I forgive you! (<i>Shakes hands warmly
+with</i> <span class="smcap">NOEL</span>).</p>
+<p><span class="smcap">NOEL.</span> Uncle!</p>
+<p><span class="smcap">BRI.</span> You were right&mdash;now I know it! What do I care if she is a watchmaker&#39;s daughter? Go and get
+your wife&mdash;bring her here&mdash;and we&#39;ll live together,
+the four of us us&mdash;</p>
+<p><span class="smcap">NOEL.</span> All four of us?</p>
+<p><span class="smcap">BRI.</span> Yes, all four! (<i>To</i> <span
+class="smcap">ADRIENNE</span>). I am going to speak to your
+Aunt&mdash;I&#39;ll be back at once. (<i>Exit Center</i>).</p>
+</td>
+</tr>
+</table>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill74" id="ill74"></a>
+<img src="images/ill06.png" width="600" height="388" alt="" title="" />
+<p class="caption"><span class="smcap">&quot;Sister Beatrice&quot; of Maeterlinck, produced at the
+Western Reserve College for Women.</span></p>
+
+<p class="center">The simple hangings produce a good cyclorama effect. (Courtesy of Miss Ida Treat).</p>
+</div>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page73" id="page73"></a>[pg&nbsp;73]</span></p>
+
+<h2>CHAPTER VI</h2>
+
+<h3>REHEARSING<br />
+III</h3>
+
+<p class="indent"><span class="smcap">The</span> dress rehearsal usually
+takes place on the night before the regular performance.</p>
+
+<p class="indent">Every effort must be made on this occasion to have
+conditions, on the stage and behind it, as nearly as possible like those
+under which the play is to be given. Scenery, lighting, costumes, must
+all be ready, and the performance carried through with as few
+interruptions as the director can afford to make. The director should be
+in the back of the &quot;house&quot;, and stop the players only when
+they do something absolutely wrong. It is very unwise to change lines or
+&quot;business&quot; at this eleventh hour. The stage manager and his
+assistants must be in their assigned places, the lights manipulated,
+actors &quot;called&quot;, the curtain rung up and down on schedule. The
+director watches the general effects, sees that the stage is not
+<span class="pagenum"><a name="page74" id="page74"></a>[pg&nbsp;74]</span>
+crowded, that the lights are in order, and above all, watches the tempo
+of the performance.</p>
+
+<p class="indent">The actors must be informed that on the occasion of
+the performance the audience is likely to distract them by applause,
+laughter, etc., and that they, the actors, must pause for a moment when
+there is any such interruption. A little advice as to resting, not
+worrying about lines, etc., will not be out of place.</p>
+
+<p class="indent">Besides the <i>acting</i> dress rehearsal, there
+should be a scene and light rehearsal. This is merely for the assistants
+behind the stage. The different scenes (if there is more than one)
+should be set and &quot;struck&quot; (taken down), furniture and
+&quot;props&quot; stationed, lights worked, exactly as they are to be on
+the following night. Everything should go according to clockwork, the
+stage manager &quot;holding the book&quot; on all his assistants.</p>
+
+<p class="indent">The performance should begin on time. Every one knows
+the irksome delay usually incident to amateur performances, and it ought
+to be the object of every director to remedy a defect which is inherent
+in our usual slipshod method of reproducing plays. Promptness is the
+prime requisite of efficiency, and the production of plays is successful
+only when the component
+<span class="pagenum"><a name="page75" id="page75"></a>[pg&nbsp;75]</span>
+elements are organized on a sort of military basis. The actors must be
+in the theater on time, and &quot;made-up&quot; in costume, at least
+half an hour before the curtain rises. It is well for each actor to see
+the property man and make sure that all the &quot;props&quot; necessary
+to his part are in readiness. The property man himself must also check
+up his list for the last time, in order to avoid confusion during the
+performance.</p>
+
+<p class="indent">When everything is in order, there is little more to
+be done. The director might make a few general remarks to the cast,
+endeavor to inspire them with confidence and impress upon them the
+necessity of playing together harmoniously, and so on, but if his work
+has been well done during rehearsals, this will not be necessary.</p>
+
+<p class="indent">The prompter must follow the play line for line and be
+ready to prompt any actor who forgets his part. It is well for the stage
+manager to be near the prompter, in order that every cue for lighting,
+&quot;business&quot; off-stage&mdash;like ringing bells, shooting,
+etc.&mdash;may be acted upon as required.</p>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill76" id="ill76"></a>
+<img src="images/ill07.png" width="600" height="365" alt="" title="" />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/ill07a.png" width="600" height="363" alt="" title="" />
+<p class="caption"><span class="smcap">Two Views of the Stage at Tufts College,
+showing plenty of Open Space for the
+Storing and Shifting of Scenery.</span></p>
+
+<p class="center">(Courtesy of L. R. Lewis).</p>
+</div>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page76" id="page76"></a>[pg&nbsp;76]</span></p>
+
+<h2>CHAPTER VII</h2>
+
+<h3>THE STAGE</h3>
+
+<p class="indent">A great deal more attention is being directed&mdash;in
+this country, at least&mdash;to the improvement of the physical
+requirements of the stage than heretofore. During the past few years,
+numerous writers<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a
+href="#Footnote_10_10" class="fnanchor">[10]</a> have made a systematic
+study of theaters abroad and at home, and revealed the fact that on the
+whole our theaters, both before and behind the curtain, are antiquated,
+ill-equipped, and fall far short of the infinite possibilities which
+have been made realized in certain cities of Germany and Russia.</p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_10_10" id="Footnote_10_10"></a>
+<a href="#FNanchor_10_10">
+<span class="label">[10]</span></a> Hiram Kelly Moderwell, in his
+&quot;The Theatre of To-day&quot; (Lane), and Sheldon Cheney, in his
+&quot;The Modern Movement in the Theatre&quot; (Kennerley), have
+rendered signal service in this field. The first book contains a
+thoroughly systematic account of practically all the new theatrical
+experiments.</p>
+</div>
+</div>
+
+<p class="indent">Revolutionary experiments in lighting, as well as in
+the disposition of stage settings, have,
+<span class="pagenum"><a name="page77" id="page77"></a>[pg&nbsp;77]</span>
+during the past ten or twelve years, opened up fields formerly undreamed
+of.</p>
+
+<p class="indent">It is not the purpose of this chapter to describe at
+great length these innovations; the reader is referred to the books of
+Moderwell and Cheney mentioned in the footnote above. A few elementary
+suggestions, however, which may be used by skilled and intelligent
+amateurs, will prove suggestive to the average director and stage
+manager.</p>
+
+<p class="indent">It is likely that by far the greater number of amateur
+plays will be performed on a stage which is already built and equipped.
+In such cases, all the stage manager can do is to use his own scenery
+and at least have a voice in the matter of lighting. Still, many plays
+are performed on improvised stages, in private homes, clubs, or
+schoolrooms, or out-of-doors. This allows the stage manager a little
+more leeway, and often he may modify the size of the stage to suit
+himself, and introduce some innovations of his own.</p>
+
+<p class="indent">To those who are in a position either to build or
+temporarily construct their own stages, this chapter is primarily
+addressed.</p>
+
+<p class="indent">We shall now proceed to a consideration of a few of
+the more important innovations on
+<span class="pagenum"><a name="page78" id="page78"></a>[pg&nbsp;78]</span>
+the modern stage. The first of these is undoubtedly:</p>
+
+<p class="indent"><b>The Cyclorama.</b> This is &quot;a white or tinted
+backing for the stage, built in the form of a segment of a vertical
+cylinder. It may be constructed of canvas or of solid plaster.... Now,
+if made of canvas, it is more usually kept, when not in use, on a
+vertical roller, at one side of the stage, near the front, and carried
+around behind the stage, unrolling from its cylinder the while, until it
+connects with a similar cylinder at the opposite side of the stage. It
+hangs from a circular iron rail, and almost completely encloses the
+stage, rising to the required distance.... It can be rolled up on its
+original cylinder when it is not needed, leaving the stage once more
+approachable from all sides.... The chief uses of the cyclorama are
+evident. It presents a continuous dead white or tinted background,
+which, when played upon by the proper lights, gives a striking illusion
+of depth and luminous atmosphere.... But perhaps the chief value of the
+cyclorama, from the standpoint of the stage artist, has not yet been
+mentioned. For the new device changes altogether the problem of
+lighting. Ordinary sunlight is, as we know,
+<span class="pagenum"><a name="page79" id="page79"></a>[pg&nbsp;79]</span>
+not a direct light, but an infinitely reflected light, bandied about by
+the particles of air and by the ordinary physical objects on which it
+strikes. The mellowness and internal luminosity of ordinary sunlight is
+wholly due to this infinite reflection. It was the lack of this that
+made the old stage lighting, with its blazing direct artificial glare,
+so unreal. The cyclorama, and especially the dome cyclorama, permits the
+stage to be lighted largely or wholly by crisscrossing reflection. The
+mellow and subtle lighting which makes it possible was altogether
+unknown under the older methods.&quot;<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_11_11" id="Footnote_11_11"></a>
+<a href="#FNanchor_11_11">
+<span class="label">[11]</span></a>
+Moderwell&#39;s &quot;The Theatre of To-day.&quot; John Lane Company.</p>
+</div>
+</div>
+
+<p class="indent">The construction of a cyclorama, either of cloth or of
+plaster, is rather difficult, but there are certain simple substitutes
+which may be used to secure some of its elementary effects. The
+following system has been used by some amateurs with signal success.</p>
+
+<p class="indent">First take a wooden rod, or better, iron pipes, curved
+to the desired shape.</p>
+
+<p class="indent">Fasten this framework either to the ceiling of the
+&quot;loft&quot; or, if that is too high, to the wings. On the rod hang
+curtains of burlap,
+<span class="pagenum"><a name="page80" id="page80"></a>[pg&nbsp;80]</span>
+or some similar material, or else two or three thicknesses of
+cheesecloth, so that they fall in simple folds. The color will depend on
+the sort of play to be produced and the kind of lights used. As a rule,
+dark tan, green, or dark red are the best colors, and can be used on
+many occasions and for nearly every sort of play. Whether the
+&quot;cyclorama&quot; thus improvised be permanent or temporary, this is
+one of the best possible backgrounds. In out-of-door scenes, it gives a
+suggestion of distance.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p80.png" width="500" height="376" alt="" title="" />
+</div>
+
+<p class="indent">In Constance D&#39;Arcy Mackay&#39;s book on
+&quot;Costumes and Scenery for Amateurs&quot; the author describes how a
+&quot;desert and oasis&quot;
+<span class="pagenum"><a name="page81" id="page81"></a>[pg&nbsp;81]</span>
+scene can be made from the simplest means:</p>
+
+<p class="indent">&quot;A plain sand-colored floor cloth. A backdrop or
+cyclorama of sky-blue against which very low sand mounds appearing as if
+at great distance, with palm trees, also made small by distance. These
+mounds and palm trees should be painted low on the backdrop, since a
+vast stretch of level sand is what is to be suggested. It would even be
+possible to use a plain blue sky drop, and run some sand-colored cambric
+into mounds across the back of the stage, so as to break the sky
+line.&quot;</p>
+
+<p class="indent">It is not necessary, though, to <i>paint</i> the
+cyclorama: darker cloth, made to represent mounds, thrown across the
+lower part of the cyclorama, would be equally effective. Further
+examples of what can be done with the cyclorama will be cited in the
+chapter on &quot;Lighting.&quot;</p>
+
+<p class="indent">Another of the recent innovations which is of
+particular value to amateurs is the system by which the proscenium
+opening can be made large or small, according to the demands of the
+play. Usually the proscenium looks like the following diagram.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill80" id="ill80"></a>
+<img src="images/ill08.png" width="600" height="397" alt="" title="" />
+<p class="caption"><span class="smcap">An Ordinary Box-set. From Dumas <i>fils&#39;</i> &quot;The Money Question&quot;,
+produced at Tufts College.</span></p>
+
+<p class="center">(Courtesy of L. R. Lewis).</p>
+</div>
+
+<p class="indent">Suppose one scene of a play calls for a large
+courtroom filled with people. Obviously, all the stage space is
+required. But suppose that
+<span class="pagenum"><a name="page82" id="page82"></a>[pg&nbsp;82]</span>
+the next scene is a small antechamber. On the average stage the
+discrepancy is at once observed, and the effect is more than likely
+ridiculous. Even if the sets used are &quot;box sets&quot; (that is,
+with three walls and not mere conventional screens or curtains), the
+effect of great size can easily be obtained in the first scene, and
+smallness in the second, by means of the device about to be described.
+This applies, of course, to plays where the same set must be used for
+both scenes. If, however, a different set is used for the antechamber
+scene, the new device is imperative.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p82.png" width="500" height="423" alt="" title="" />
+</div>
+
+<p class="indent"><span class="pagenum"><a name="page83" id="page83"></a>[pg&nbsp;83]</span>
+First, construct two tall screens (on a wooden framework), made either
+of painted canvas or draped cloth, of some dark and subdued tone, and
+place them on each side of the stage, just behind the proscenium arch,
+as in the diagram:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p83.png" width="500" height="333" alt="" title="" />
+</div>
+
+<p class="indent">These screens can be easily set closer to the center
+of the stage, thereby diminishing its size on the sides. Then the
+&quot;grand drapery&quot; above, which hangs down from behind the top of
+the proscenium arch, and which should be of the same color and material
+as the side screens, is lowered. This process makes, from the inside, a
+smaller proscenium arch. Many of the German and some other stages
+<span class="pagenum"><a name="page84" id="page84"></a>[pg&nbsp;84]</span>
+have added a fourth side to this frame, by &quot;boxing&quot; the
+footlights:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p84.png" width="500" height="420" alt="" title="" />
+</div>
+
+<p class="indent">This last, besides giving the effect of a detached
+picture to the set, prevents the direct rays of the footlights, when
+they are used, from shining up into the gallery.</p>
+
+<p class="indent">To return to the smaller scene made by the inner
+proscenium arch, it will readily be seen that the cyclorama&mdash;if
+there is one&mdash;or back wall of the set, or else the curtain, must
+usually be brought forward a little. The advantage of the inner
+proscenium becomes apparent when
+<span class="pagenum"><a name="page85" id="page85"></a>[pg&nbsp;85]</span>
+such a play as &quot;The Merchant of Venice&quot; is performed, and the
+absurdity of using a stage of the same size for the Portia-Nerissa scene
+in the first act and the casket scene, is forcibly brought to our
+attention.</p>
+
+<p class="indent"><b>The Revolving Stage</b> and <b>The Wagon Stage</b>.
+These are fully described in the books which have been referred to. They
+are both extremely valuable, but as yet too complicated and expensive to
+be seriously considered for amateurs.</p>
+
+<p class="indent">The introduction of simpler scenery and simpler
+lighting does away with much that was difficult to manage under the old
+system, and a few well-trained amateurs should be able to set and attend
+to almost any production without having recourse to the revolving stage
+and the &quot;wagons.&quot;</p>
+
+<p class="indent">As much space as possible should be kept clear behind
+the curtain; occasions are likely to arise when the entire stage may be
+used, and manipulation of scenery on a full stage is a difficult
+task.</p>
+
+<p class="indent">A few suggestions as to lighting and its relation to
+scenery and color and action will be set forth in the next chapter.</p>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page86" id="page86"></a>[pg&nbsp;86]</span></p>
+
+<h2>CHAPTER VIII</h2>
+
+<h3>LIGHTING</h3>
+
+<p class="indent"><span class="smcap">It</span> has been rightly urged
+that recent inventions and discoveries in lighting constitute the
+greatest contribution to the modern art of the theater. This manual is
+intended primarily to help the producer and the actor, but the present
+short chapter may assist the former or his associates in their effort to
+improve the physical conditions of the stage.</p>
+
+<p class="indent">The prevalent system of using footlights and border
+lights is on the whole bad, because it is false, unnatural, and above
+all unnecessary. Says Moderwell (pages 107-108, in &quot;The Theatre of
+To-day&quot;):</p>
+
+<blockquote> <p class="indent">&quot;Before we can begin work in
+artistic lighting we must do some destroying. One element in the old
+lighting must go, and go completely. We can say this with careless ease
+now that the Fortuny system has given us a better
+<span class="pagenum"><a name="page87" id="page87"></a>[pg&nbsp;87]</span>
+way. But even before this invention was made known, the case against the
+footlights must have been obvious to any sensitive man of the theatre;
+that the &#39;foots&#39; continued as long as they did indicates the
+stagnation of the old theatre in all but purely literary art.</p>
+
+<div class="figcenter" style="width: 310px;">
+<img src="images/p87.png" width="310" height="460" alt="" title="" />
+<p class="caption">From &quot;The Architectural Review.&quot;</p>
+
+<p class="indent"><span class="smcap">Operation of the Fortuny Indirect Lighting System.</span></p>
+</div>
+
+<p class="indent">&quot;The footlights, with their corresponding border
+lights from above, give a flat illumination. They make figures visible,
+but not
+<span class="pagenum"><a name="page88" id="page88"></a>[pg&nbsp;88]</span>
+living; they destroy that most precious quality of the sculptor,
+relief.... It is the shadows, the nooks and crannies of light and shade,
+that show a figure to be solid and plastic.&quot;</p> </blockquote>
+
+<p class="indent">The Fortuny system mentioned is a device by which
+light is reflected and diffused: &quot;An arc-lamp and several pieces of
+cloth of various colours&mdash;these comprise the Fortuny apparatus in
+its simplest form.&quot; While only an expert electrician and, if the
+effects are to be artistic, an artist, can erect and manipulate a system
+built on Fortuny&#39;s principles, still amateur electricians and
+directors should do their best, by means of experimentation, to use
+indirect lighting.</p>
+
+<p class="indent">Just how this can be done must rest with individuals,
+but two or three experiments may be briefly described.</p>
+
+<p class="indent">Suppose that the cyclorama, or the hangings masking
+the back of the stage, are made of white or light-colored cloth. In this
+case, an arc lamp or ordinary calcium light can be placed up in the
+loft, above the top of the cyclorama, and behind it. A little
+experimenting will reveal many striking light effects. If one light or
+lamp is not sufficient, others can be placed in various positions to
+reënforce
+<span class="pagenum"><a name="page89" id="page89"></a>[pg&nbsp;89]</span>
+it. As conditions vary so greatly, it is impossible to supply more
+concise directions.</p>
+
+<p class="indent">Where box sets are used in which there is at least one
+window, and provided the scene does not take place at night, it is much
+better to have all, or at least an appreciable portion of the light come
+in through one window. In the second act of Charles Klein&#39;s
+&quot;The Music Master&quot; played by David Warfield and produced by
+David Belasco, the stage was at one time brilliantly lighted, supposedly
+by sunshine from the outside, from the two opposite sides of the stage!
+If, however, screens and curtains are used (see chapter on &quot;Scenery
+and Costumes&quot;), then it is best to introduce some sort of central
+reflected light. To station lights on all sides of the stage will first
+of all make the stage too bright, and furthermore produce unnatural and
+distorted shadows: there is no chance for effects of relief or any
+illusion of plasticity. If possible, the footlights should be entirely
+eliminated; if not, then most sparingly used. Our stages are for the
+most part overlighted.</p>
+
+<p class="indent">The production of Lady Gregory&#39;s &quot;The Rising
+of the Moon&quot; by the Irish Players was one of the simplest and at
+the same time
+<span class="pagenum"><a name="page90" id="page90"></a>[pg&nbsp;90]</span>
+most effective of stage pictures. The following diagram will show in a
+rough way the general disposition of the settings:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p90.png" width="500" height="260" alt="" title="" />
+</div>
+
+<p class="indent">The back of the stage (the shaded area) was flooded
+with white light to suggest moonlight. There were no &quot;foots&quot;
+or &quot;borders&quot;; anything besides the single light would have
+ruined the effect of perfect placidity.</p>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page91" id="page91"></a>[pg&nbsp;91]</span></p>
+
+<h2>CHAPTER IX</h2>
+
+<h3>SCENERY AND COSTUMES</h3>
+
+<p class="indent"><span class="smcap">Very</span> little need be said
+regarding the usual conventional sets, whether they represent interiors
+or exteriors. The purpose of this chapter is (1) to suggest simple but
+effective means of staging without using the conventional sets, and (2)
+to lay down a few principles as to costuming.</p>
+
+<p class="indent">By means of the simple devices about to be described,
+the amateur is enabled to do without &quot;box sets&quot; and all the
+paraphernalia of the old stage. The tendency nowadays is away from
+naturalism in setting; the aim is rather to supply simple but beautiful
+backgrounds with as little obvious effort as possible; to suggest rather
+than to represent. When the word &quot;conventional&quot; is used it is
+intended to convey the meaning not of &quot;old&quot; and
+&quot;hackneyed&quot;, but of &quot;simple&quot;, &quot;suggestive.&quot;
+<span class="pagenum"><a name="page92" id="page92"></a>[pg&nbsp;92]</span>
+Beardsley&#39;s drawings are conventional because attitudes and lines
+are conventionalized.</p>
+
+<p class="indent">In the main, there are three sorts of setting which
+may be used for practically all kinds of plays. They have been
+successfully tried out on numerous occasions, and few plays have been
+found which cannot fit at least one of them.</p>
+
+<p class="indent">1. The first and simplest of them all consists of
+draperies and tall screens. The Greek classics and Shakespeare are
+particularly effective with this sort of background. Where Greek plays
+are given, a peristyle of wooden pillars up-stage, behind which may be
+hung white or tinted curtains, is especially desirable. Any Greek, and
+most Latin plays, can be produced with this setting. Often such plays
+are given in the open. If the performance takes place in the daylight,
+there is no difficulty as to artificial lighting; but if it is at night,
+then a flood-light must cover the stage. This is placed toward the back,
+or else behind the audience.</p>
+
+<p class="indent">Shakespeare is seen at his best with the simple
+background. A sort of cyclorama may be constructed by using curtains hung
+<span class="pagenum"><a name="page93"
+id="page93"></a>[pg&nbsp;93]</span> at the back of the stage, upon which
+is thrown light from one place: behind the proscenium arch, from above,
+or from one of the sides. Suppose that &quot;The Comedy of Errors&quot;
+is the play to be performed. The first scene of the first act is
+&quot;<i>A hall in the Duke&#39;s palace</i>.&quot; This, of course,
+should be printed on the program, but on the stage all that is needed is
+a suggestion or two, like a gilded chair, and a painted white bench or
+two. These are not needed in the action, but they serve to create an
+atmosphere. The second scene is &quot;<i>A public place</i>.&quot;
+Absolutely no &quot;props&quot; or furniture are needed; indeed, their
+very absence indicates the &quot;place.&quot; The first scene of the
+second act is the same. The curtains around the stage must be made in
+sections, in order to allow the actors to enter and exit through them.
+The lines are always sufficient to indicate where a person is coming
+from or going to. In the first scene of the third act, Dromio of
+Syracuse says:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">DRO. S. (<i>within</i>). Mome, malt-horse, capon, coxcomb, idiot, patch!</span><br />
+<span class="i0">Either get thee from the door, or sit down at the hatch:</span><br />
+<span class="pagenum"><a name="page94" id="page94"></a>[pg&nbsp;94]</span>
+<span class="i0">Dost thou conjure for wenches, that thou call&#39;st for such store,</span><br />
+<span class="i0">When one is one too many? Go, get thee from the door.</span>
+</div>
+</div>
+
+<p class="indent">A house is evidently intended to be represented, but
+it is not necessary that we see it: Dromio of Syracuse can speak from
+behind the curtain. The convention will readily be accepted. Nor is it
+necessary to differentiate the various &quot;public places&quot;, except
+for the sake of variety: perhaps a bench or two now and then will
+accomplish this purpose. And when, in the first scene of the fifth act,
+the public place is &quot;<i>before an abbey</i>&quot;, still there is
+no need of any definite set pieces. From time to time, doubtless some
+special article of furniture or set piece of some kind will be mentioned
+in the text, not elsewhere, in which case it can easily be supplied.</p>
+
+<p class="indent">This &quot;Shakespeare-without-scenery&quot; is not
+the only method by which Shakespeare can be performed, but it is the
+easiest and, if done with taste, the most effective.</p>
+
+<p class="indent">Let us now take rather a more difficult play,
+&quot;Twelfth Night.&quot; The first scene of the first act is
+&quot;<i>An apartment in the Duke&#39;s palace</i>.&quot;
+<span class="pagenum"><a name="page95" id="page95"></a>[pg&nbsp;95]</span>
+The Duke sits on a sort of throne or sofa. In Max Reinhardt&#39;s
+production of this play at the Deutsches Theater in Berlin, the set
+consisted simply of a semicircular lounge extending all the way across
+the stage. It was covered with dark blue plush; the hangings were of the
+same color. A warm yellow light directed from above flooded the
+stage.</p>
+
+<p class="indent">Either a throne or sofa for the Duke, then, and a few
+other chairs for the remaining characters, who sit down&mdash;the
+musicians stand&mdash;or else, following Reinhardt, a semicircular
+lounge. This is all. The second scene is &quot;<i>The
+seacoast</i>.&quot; The stage is bare here. The third scene is
+&quot;<i>A room in Olivia&#39;s house</i>.&quot; Different chairs or
+sofas and a throne for Olivia. The following scene is the same as scene
+one. The first scene of the second act is the seacoast once more. The
+next is &quot;<i>A street</i>.&quot; No furniture. The third scene is
+&quot;<i>A room in Olivia&#39;s house</i>&quot;; evidently not the same
+as that in which Olivia first appeared. The room is probably in or near
+the wine cellar. A table, therefore, and three or four chairs, will not
+be amiss. The next is the same as in act one, scene one. The
+<span class="pagenum"><a name="page96" id="page96"></a>[pg&nbsp;96]</span>
+fifth scene of the second act is &quot;<i>Olivia&#39;s garden</i>.&quot;
+Here the stage business requires a few definitely placed shrubs and a
+bench or two. The best arrangement of this scene is suggested in the
+diagram:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p96.png" width="500" height="317" alt="" title="" />
+</div>
+
+<p class="indent">Malvolio comes down-stage Center, while the others are
+hiding behind one of the benches, either Left or Right. These benches,
+as indicated in the diagram, are partially concealed by shrubs.
+Baytrees, planted in green-painted tubs, make especially good
+decorations. They can be used on many occasions, as will be shown later.
+Nor, in the case of the scene from &quot;Twelfth Night&quot;, are they
+so high as to conceal the actors who are supposed to be hidden behind
+them. The following scene is
+<span class="pagenum"><a name="page97" id="page97"></a>[pg&nbsp;97]</span>
+the same. The second scene of the third act is the cellar room again.
+Following this is &quot;<i>A street</i>&quot;; then
+&quot;<i>Olivia&#39;s garden</i>&quot; once more. The next new scene is
+the first of the fourth act: &quot;<i>A street before Olivia&#39;s
+garden</i>.&quot; Perhaps a little variety can be introduced in the
+shape of a shrub or two. The remaining scenes are repetitions of those
+already considered.</p>
+
+<p class="indent">The suggestions above given are extremely summary,
+but, if acted upon, will be seen to prove sufficient.</p>
+
+<p class="indent">2. Out-of-door scenes of a more elaborate character,
+in plays like Rostand&#39;s &quot;The Romancers&quot;, often require
+more complicated sets; they may still be produced with the most
+elementary sort of background, however. The stage directions of this
+play are as follows:</p>
+
+<blockquote> <p class="indent"><span class="smcap">Scene</span>: <i>The
+stage is divided by an old wall, covered with vines and flowers.</i>
+<i>At the right, a corner of</i> <span
+class="smcap">bergamin&#39;s</span> <i>park is seen; at the left, a
+corner of</i> <span class="smcap">pasquinot&#39;s</span>. <i>On each
+side of the wall, and against it, is a rustic bench.</i></p>
+</blockquote>
+
+<p class="indent">This is set in the following manner:</p>
+
+<p class="indent"><span class="pagenum"><a name="page98" id="page98"></a>[pg&nbsp;98]</span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p98.png" width="500" height="305" alt="" title="" />
+</div>
+
+<p class="indent">The background hangings may be of tan burlap or else
+dark green. Gaps, covered by the folds, must be made up- and down-stage
+to allow the actors to enter and leave the stage. The wall must be
+constructed of solid wood, in order to support the actors, and painted
+to suggest bricks. There is a rustic bench against each side of the
+wall. Though they are not mentioned in these preliminary directions,
+there are other rustic benches, down-stage to the extreme right and
+left. These are used later in the act.</p>
+
+<p class="indent">In the second act, &quot;<i>the wall has
+disappeared</i>. <i>The benches which were formerly against it, are
+removed to the extreme right and left.</i> [The extra benches mentioned
+in the first act have
+<span class="pagenum"><a name="page99" id="page99"></a>[pg&nbsp;99]</span>
+of course been removed.] <i>There are a few extra pots of flowers and
+two or three plaster statues. To the right is a small garden table, with
+chairs about it.</i>&quot; This scene is set as follows:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p99.png" width="500" height="249" alt="" title="" />
+</div>
+
+<p class="indent">The third act stage directions are: &quot;<i>The scene
+is the same except that the wall is being rebuilt. Bricks and sacks of
+plaster lie about</i>.&quot; A few bricks may serve to indicate the
+partly finished wall.</p>
+
+<p class="indent">Since the scene of this play is laid at first in
+parks, there ought to be some suggestion as to this fact. Here bay- or
+box-trees can be used. Perhaps three or four should be arranged more or
+less symmetrically at the back of the stage, and as many to the right
+and left, down-stage. One or two can be added, close to the wall. This
+is all that is absolutely necessary.</p>
+
+<p class="indent"><span class="pagenum"><a name="page100" id="page100"></a>[pg&nbsp;100]</span>
+The foregoing remarks have been applied largely to romantic plays, but
+what is to be done in modern realistic pieces? There are two courses
+open, besides the conventional one (using box sets):</p>
+
+<hr />
+
+<p class="indent">The first method is to use the regular hangings as
+before and set a few needful articles of furniture about the stage. This
+is not realistic, but there are many realistic plays which can be
+produced without correspondingly realistic settings. Of course, where
+windows are referred to and used, there must be real windows, and where
+a character is directed to hang a picture on a wall, there must be a
+wall. However, there are many realistic plays where box sets are not
+required. Hermann Sudermann&#39;s &quot;The Far-away Princess&quot; is a
+case in question. The author has definitely suggested a certain setting
+for the play, but as his suggestions are not absolutely essential they
+may be modified. The directions are:</p>
+
+<blockquote> <p class="indent">&quot;<i>The veranda of an inn. The right
+side of the stage and half of the background represent a framework of
+glass enclosing the veranda. The left side and the other half of the
+background represent the stone walls of the house. To the</i>
+<span class="pagenum"><a name="page101" id="page101"></a>[pg&nbsp;101]</span>
+<i>left, in the foreground, a door; another door in the background, at
+the left. On the left, back, a buffet and serving table. Neat little
+tables and small iron chairs for visitors are placed about the veranda.
+On the right, in the centre, a large telescope, standing on a tripod, is
+directed through an open window.</i> <span class="smcap">ROSA</span>,
+<i>dressed in the costume of the country, is arranging flowers on the
+small tables</i>. <span class="smcap">FRAU LINDEMANN</span>, <i>a
+handsome, stoutish woman in the thirties, hurries in excitedly from the
+left</i>.&quot;</p> </blockquote>
+
+<p class="indent">If the dramatist&#39;s stage directions are implicitly
+followed, a realistic set will be required. The scene as set according
+to the diagram, has, however, often been used:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p101.png" width="500" height="257" alt="" title="" />
+</div>
+
+<p class="indent">Once more, the little shrubs may be used in order to
+give an atmosphere of outdoors.</p>
+
+<p class="indent"><span class="pagenum"><a name="page102" id="page102"></a>[pg&nbsp;102]</span>
+Or, to take an example of a &quot;modern-interior&quot; play in which
+the same conventionalized scenery may be used to advantage&mdash;Alfred
+Capus&#39; &quot;Brignol and his Daughter&quot; (published by French) is
+set as follows:</p>
+
+<blockquote> <p class="indent"><span class="smcap">Scene</span>: <i>An
+office, fitted up with various articles of parlor furniture&mdash;rather
+pretentious in appearance. To the right, a table with letter-files, and
+a safe; beside the safe, a bookshelf. At the back is the main entrance;
+there are other doors, right and left, one opening upon a bed-room, the
+other upon the parlor.</i></p> </blockquote>
+
+<p class="indent">Here the setting is so usual, so conventional, that no
+<i>actual</i> room is required: merely the table, chairs, safe, etc., as
+called for. Of course, it is not imperative that such plays should be
+set in this manner: the arrangement with screens about to be described
+is usually the best way. The point here to be impressed is that
+realistic sets are not always required for realistic plays.</p>
+
+<p class="indent">3. By the introduction of screens&mdash;not to be
+confused with the large screens mentioned by Gordon Craig,
+however&mdash;practically any realistic play can be produced. The diagram
+<span class="pagenum"><a name="page103" id="page103"></a>[pg&nbsp;103]</span>
+below will afford some idea of the very simple principle:</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p103.png" width="500" height="254" alt="" title="" />
+</div>
+
+<p class="indent">Three screens, about seven feet high, made in three
+sections, and covered with burlap or some similar material, are all that
+will usually be required on a moderately small stage. These can be set
+in various ways. If an ordinary room is called for, they may be set as
+in the above diagram.</p>
+
+<p class="indent">&quot;Brignol and his Daughter&quot; may be staged by
+using three screens (as in the diagram above): the opening at the back
+is the center door; the doors on the right and left are the openings
+left between the lower ends of the side screens and the inside of the
+proscenium arch. The furniture is set in this scene as it is required in
+the stage directions. If the proscenium opening is too large, then
+<span class="pagenum"><a name="page104" id="page104"></a>[pg&nbsp;104]</span>
+the grand drapery can be lowered to within two or three feet of the top
+of the screens, and the side screens, behind the sides of the proscenium
+arch, brought closer together. Behind the screens representing the room,
+burlap or a suitable substitute may be hung. To take concrete examples
+once more, the setting of the first act of &quot;A Scrap of Paper&quot;
+(the adaptation by J. Palgrave Simpson) is thus described in the
+text:</p>
+
+<blockquote> <p class="indent"><i>Drawing-room in a French country
+house. Windows to the floor, R.C.</i> [Right Center] <i>and L.C.</i>
+[Left Center], <i>at back, looking out on gardens and park. The window
+L.C. is at first closed in with barred Venetian shutters. The window
+R.C. opens on the garden. Fireplace, C.</i> [Center] <i>between the
+windows, surmounted by a mirror. On each side of the mirror is a
+bracket, within reach of the hand; the one R. supporting a statuette
+of</i> <span class="smcap">FLORA</span>, <i>the other, L., empty. Doors,
+R. 2 E</i> [See diagram] <i>and L. 2 E. Sofas R. and L. up-stage. At C.
+of stage is a round table, with a lamp, and an embroidery frame, a book
+and other objects scattered upon it in great disorder. Chairs R. and L.
+of table. Arm chairs R.C. and L.C., downstage.</i>
+<span class="pagenum"><a name="page105" id="page105"></a>[pg&nbsp;105]</span>
+<i>The furniture is to be rich but old-fashioned, and a little worn.
+Carpet down.</i></p> </blockquote>
+
+<p class="indent">Five screens are here required: one at the back,
+behind the fireplace; and two on each side of the stage. Only two of the
+three folding sections of each are used.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p105.png" width="500" height="241" alt="" title="" />
+</div>
+
+<p class="indent">The fireplace must be &quot;practical&quot;&mdash;that
+is, it must have a wooden framework. In case a mirror is desired, it can
+be lower than a mirror usually is, and made of mosquito netting, to
+avoid reflections. A very few pictures may be hung on the screens. The
+hangings at the back of the stage&mdash;masking the bare walls&mdash;are
+of the same sort as have been described before, but the color of the
+screens must harmonize with them.</p>
+
+<p class="indent">With such a background, and by means of
+<span class="pagenum"><a name="page106" id="page106"></a>[pg&nbsp;106]</span>
+screens, shrubs, and a few necessary set pieces, like the wall in the
+Rostand play, the author has seen a dozen widely different plays
+produced by amateurs, in not one of which was the slightest noticeable
+discrepancy or anything that would shock even the theatergoer who is
+accustomed to the elaborate and often unnecessary settings of David
+Belasco.</p>
+
+<p class="indent">As may be easily imagined, the possibilities of
+variation upon these simple settings are infinite. Experimentation, as
+always, will reveal new fields.</p>
+
+<hr />
+
+<p class="indent">Before closing the chapter, a word may be said of the
+flat background near the curtain line. About four or five feet behind
+the curtain line&mdash;<i>i.e.</i> the place where the curtain falls to
+the stage&mdash;hang a drop, either of burlap, or else a white drop like
+that used in stereopticon lectures. This, either played upon by lights
+in &quot;the house&quot;, or from behind the stage, forms a striking
+background for scenes of pantomime, a street&mdash;as in &quot;Twelfth
+Night&quot;&mdash;a wall, a forest, almost anything. Such a screen was
+most effectively used in one scene of Reinhardt&#39;s production of
+&quot;Sumurûn.&quot; A still more striking effect was achieved in a
+performance
+<span class="pagenum"><a name="page107" id="page107"></a>[pg&nbsp;107]</span>
+of &quot;Peer Gynt&quot; at the Lessing Theater in Berlin. The scene was
+the one in which Peer Gynt is before the pyramid in Egypt. About five
+feet behind the curtain line a white screen was dropped. Diagonally
+across this screen was thrown a dark purple light, while over the
+remaining space a saffron yellow played. That was all, but the
+suggestion of the vast shadow of the pyramid and the yellow sunlight and
+the yellow sands of Egypt was far more impressive than any
+<i>representation</i> of the pyramid and desert could be.</p>
+
+<p class="indent">In case the effect of a distant city is desired, then
+another (darker and thicker) cloth, cut to represent the outlines of
+buildings and the like, can be sewed against the drop, thus producing
+the effect of a silhouette.</p>
+
+<p class="indent">In fine, the whole problem of staging resolves itself
+into this: achieve your effects in as simple a way as possible; suggest,
+do not try to represent; scenery, which ought indeed to be a delight to
+the eye, is after all only background. Experiment, but never hesitate to
+ask the advice of those who know the basic principles of color, line,
+and form, as well as those who have technical knowledge of every branch
+of the art and craft of the theater.</p>
+
+<p class="indent"><span class="pagenum"><a name="page108" id="page108"></a>[pg&nbsp;108]</span>
+<b>Costumes.</b> In his introductory remarks to &quot;The
+Romancers&quot;, Rostand says that the action may take place anywhere,
+&quot;provided the costumes are pretty.&quot; This is the basis of the
+few brief remarks to be made here on the subject of costumes. It must
+not be concluded, however, that any costumes may be used on any
+occasion. A modern play must have modern costumes&mdash;except in such
+plays as &quot;The Blue Bird&quot; and &quot;Chantecler&quot;&mdash;and
+a &quot;period play&quot; must at least approximate in spirit the age in
+which the action transpires. But it makes little difference whether
+Hamlet wears a tenth or eleventh century Danish costume, or one of the
+age of Elizabeth. It is a well-known fact that in Shakespeare&#39;s days
+there was little or no regard for historical accuracy in costumes, and
+that even in the historical plays the actors wore contemporary clothes.
+The point to be impressed is not that we should play &quot;Julius
+Cæsar&quot; in dress clothes, but that such discrepancies as were
+allowed in Elizabethan days could not have made very much difference,
+and that nowadays it is not worth while to spend too much time over
+details. In Greek plays it is well to use Greek costumes, because
+<span class="pagenum"><a name="page109" id="page109"></a>[pg&nbsp;109]</span>
+we have long been accustomed to associate some sort of archeological
+detail with plays of a certain age; and besides, Greek costumes are
+beautiful. But, and this is of great importance, do not strive to be
+historically exact: so long as costumes are beautiful and harmonize with
+the setting, and so long as they are not absurd or too much out of
+harmony with the play, they are good. There are numerous exceptions.
+Where a play definitely calls for a distinct atmospheric
+setting&mdash;like Bennett and Knoblauch&#39;s
+&quot;Milestones&quot;&mdash;then the utmost effort must be made to
+obtain correct costumes and setting. But the reason why the first act of
+this play requires historical accuracy is that the audience knows very
+well what mid-Victorian clothes are like. If the play were given in the
+year 2500 <span class="smcap">A.D.</span>, it is safe to say that
+Elizabethan or Queen Anne costumes might do just as well.</p>
+
+<p class="indent">However, historical accuracy, when it can be obtained
+as easily as not, is never superfluous.</p>
+
+<hr class="hr2" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill106" id="ill106"></a>
+<img src="images/ill10.png" width="600" height="411" alt="" title="" />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/ill10a.png" width="600" height="413" alt="" title="" />
+<p class="caption"><span class="smcap">Two Views of the Stage at the University of
+North Dakota.</span></p>
+
+<p class="center">(Courtesy of Frederick H. Koch).</p>
+</div>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page110" id="page110"></a>[pg&nbsp;110]</span></p>
+
+<h2>CHAPTER X</h2>
+
+<h3>SELECTIVE LISTS OF AMATEUR PLAYS</h3>
+
+<p class="indent"><span class="smcap">The</span> following lists, which
+do not pretend to completeness, will at least be found helpful in
+assisting amateur organizations to choose &quot;worth-while&quot; plays.
+The general headings &quot;Classic&quot;, etc, are clear, but the
+following explanations must be made regarding the other markings:</p>
+
+<p class="indent">An asterisk (*) indicates that the play is in one act.
+Those not so marked are in more than one act, and are in most cases
+&quot;full length.&quot;</p>
+
+<p class="indent">The letter &quot;<span class="smcap">S</span>&quot;
+denotes serious or tragic plays, intended in nearly every case for
+advanced amateurs.</p>
+
+<p class="indent">The letter &quot;<span class="smcap">R</span>&quot;
+denotes plays of a romantic and poetic nature.</p>
+
+<p class="indent">The letter &quot;<span class="smcap">C</span>&quot;
+denotes comedies, farces, and plays in lighter vein.</p>
+
+<p class="indent"><span class="pagenum"><a name="page111" id="page111"></a>[pg&nbsp;111]</span>
+The letter &quot;<span class="smcap">F</span>&quot; in parenthesis after
+the title indicates that a fee is charged for production by amateurs.
+The publisher or agent (see footnotes), must be consulted for
+particulars.</p>
+
+<p class="indent">The letter &quot;<span class="smcap">D</span>&quot;
+denotes modern dialect plays, like those of Lady Gregory. Most of these
+plays are included under the general heading of &quot;Classic&quot;
+because the costumes and setting, though they may be modern, are not the
+familiar modern costumes and settings.</p>
+
+<p class="indent">All plays not included in the first division
+&quot;<i>Classics, including modern costume and historical
+plays</i>&quot; are to be found in the second division: &quot;<i>Modern
+plays.</i>&quot;</p>
+
+<p class="indent">It is nearly always unwise for an amateur organization
+to take a play on faith; it is therefore advisable for it to collect a
+library of amateur plays, from which successive generations of members
+can at least form some judgment of the field from which they are to
+select their plays.</p>
+
+<p class="indent">This list makes no pretence to completeness. It has
+been the writer&#39;s purpose merely to mention a number of classic and
+standard plays which amateurs can produce without too great
+difficulty.</p>
+
+<hr />
+
+<p class="indent"><span class="pagenum"><a name="page112" id="page112"></a>[pg&nbsp;112]</span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="ill90" id="ill90"></a>
+<img src="images/ill09.png" width="600" height="399" alt="" title="" />
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/ill09a.png" width="600" height="407" alt="" title="" />
+<p class="caption"><span class="smcap">Scenes from Euripides&#39; &quot;Electra&quot;. Produced
+at Illinois State College.</span></p>
+
+<p class="center">(Courtesy of Rollin H. Tanner).</p>
+</div>
+
+<hr />
+
+<h3>CLASSICS, INCLUDING MODERN COSTUME AND HISTORICAL
+PLAYS</h3>
+
+<h4>Greek</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">RS</span> Euripides,
+<i>Alcestis</i> (Samuel French; Walter H. Baker)</p>
+
+<p class="indent"><span class="smcap">RS</span> Sophocles,
+<i>Antigone</i> (Samuel French; E. P. Dutton, in Everyman&#39;s
+Library)</p>
+
+<p class="indent"><span class="smcap">RC</span> Aristophanes, <i>The
+Clouds</i> (Macmillan; &quot;The Drama&quot;, Victorian edition)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Lysistrata</i> (Samuel
+French. Another version, by Laurence Housman, published by The
+Woman&#39;s Press, London)</p>
+</blockquote>
+
+<h4>Latin</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">C</span> Plautus, <i>The Twins</i>
+(Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span> Terence, <i>Phormio</i>
+(Samuel French)</p>
+</blockquote>
+
+<h4>Spanish</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">RC</span> Lope de Vega, <i>The Dog in the Manger</i>
+(&quot;The Drama&quot;, Victorian edition)</p>
+
+<p class="indent"><span class="smcap">RC</span> Calderon, <i>Keep Your Own Secret</i> (Macmillan)</p>
+
+<p class="indent"><span class="smcap">RC</span> Benavente, <i>The Bonds of Interest</i> (in &quot;The
+Drama&quot;, No. 20)</p>
+</blockquote>
+
+<h4>Italian</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">RC</span> Goldoni, <i>The Fan</i> (Yale Dramatic Association)</p>
+
+<p class="indent"><span class="smcap">RC</span> <i>The Beneficent Bear</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">RC</span> <i>A Curious Mishap</i> (McClurg)</p>
+
+<p class="indent"><span class="smcap">RCD</span> <i>The Squabbles of Chioggia</i> (&quot;The
+Drama&quot;, August, 1914)</p>
+
+<p class="indent"><span class="smcap">R</span>* Giacosa, <i>The Wager</i> (Samuel French)</p>
+</blockquote>
+
+<p class="indent"><span class="pagenum"><a name="page113" id="page113"></a>[pg&nbsp;113]</span></p>
+
+<h4>French</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">C</span> Bruëys (adaptor of 15th
+century anonymous), <i>Master Patelin, Solicitor</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span> Molière, <i>The Merchant
+Gentleman [Le Bourgeois Gentilhomme]</i> (Samuel French; Little, Brown;
+Bohn Library, etc.)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>The Affected Young
+Ladies [Les Précieuses ridicules]</i></p>
+
+<p class="indent"><span class="smcap">C</span> <i>The
+Sicilian</i></p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Doctor Love
+[L&#39;Amour Médecin]</i></p>
+
+<p class="indent"><span class="smcap">C</span>* <i>The Doctor in
+Spite of Himself [Le Médecin malgré lui]</i></p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Imaginary
+Invalid [Le Malade imaginaire]</i> (Samuel French; Little, Brown; Bohn
+Library; Putnam, etc., publish the above five titles)</p>
+
+<p class="indent"><span class="smcap">C</span>* Dancourt, <i>Woman&#39;s
+Craze for Titles</i> (in &quot;The Drama&quot;; Historical Publishing
+Company, 1903, vol. viii.)</p>
+
+<p class="indent"><span class="smcap">C</span>* Le Sage, <i>Crispin, His
+Master&#39;s Rival</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Marivaux, <i>The
+Legacy</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span> De Musset,
+<i>Fantasio</i> (Dramatic Publishing Company)</p>
+
+<p class="indent"><span class="smcap">CR</span>* <i>The Green
+Coat</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span> Augier, <i>M.
+Poirier&#39;s Son-in-law [Le Gendre de M. Poirier]</i> (in &quot;Four
+Plays by Emile Augier&quot;, published by Alfred A. Knopf, <span
+class="pagenum"><a name="page114" id="page114"></a>[pg&nbsp;114]</span>
+and in &quot;Chief European Dramatists&quot;, published by Houghton
+Mifflin)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Banville,
+<i>Gringoire</i> (Dramatic Publishing Company; Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* <i>Charming
+Léandre</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span> Sardou, <i>A Scrap of
+Paper</i> [<i>Les Pattes de mouche</i>] (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span> <i>The Black
+Pearl</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Feuillet, <i>The
+Fairy</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Rivoire, <i>The Little
+Shepherdess</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span> Rostand, <i>The
+Romancers</i> (Samuel French; Walter H. Baker; Heinemann)</p>
+
+<p class="indent"><span class="smcap">C</span>* France, <i>The Man Who
+Married a Dumb Wife</i> (Lane) (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* Picard, <i>The
+Rebound</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span> Zamacois, <i>The
+Jesters</i> (Brentano) (F)</p>
+
+<p class="indent"><span class="smcap">SR</span>* Bouchor, <i>A Christmas
+Tale</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Coppée, <i>The
+Violin-Maker of Cremona</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">SR</span>* <i>Pater
+Noster</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">SR</span>* Theuriet,
+<i>Jean-Marie</i> (Samuel French)</p>
+</blockquote>
+
+<h4>Danish</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">C</span> Holberg, <i>The
+Loquacious Barber</i> (&quot;The Drama&quot;, Victorian edition)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Captain Bombastes
+Thunderton</i> (in &quot;Three Comedies by Ludvig Holberg&quot;,
+published by Longmans) (Requires cutting)</p>
+
+<p class="indent"><span class="pagenum"><a name="page115" id="page115"></a>[pg&nbsp;115]</span>
+<span class="smcap">CR</span> Hertz, <i>King René&#39;s Daughter</i> (Samuel
+French)</p>
+</blockquote>
+
+<h4>German</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">CR</span> Lessing, <i>Minna von
+Barnhelm</i> (in Bohn Library, Macmillan)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Scholar</i> (in
+Bohn Library)</p>
+
+<p class="indent"><span class="smcap">C</span> Schiller, <i>Nephew or
+Uncle</i> (Walter H. Baker)</p>
+</blockquote>
+
+<h4>English</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">S</span> Anonymous,
+<i>Everyman</i> (Everyman&#39;s Library; Dutton)</p>
+
+<p class="indent"><span class="smcap">R</span> Lyly, <i>Alexander and
+Campaspe</i> (Scribner, and in Everyman&#39;s Library) (Requires
+cutting)</p>
+
+<p class="indent"><span class="smcap">R</span> Greene, <i>Friar Bacon
+and Friar Bungay</i> (Dutton) (Requires cutting)</p>
+
+<p class="indent"><span class="smcap">CR</span> Beaumont and Fletcher,
+<i>The Knight of the Burning Pestle</i> (Scribner; Everyman&#39;s
+Library; etc.) (Requires cutting)</p>
+
+<p class="indent"><span class="smcap">CR</span> Dekker, <i>Old
+Fortunatus</i> (Scribner) (Requires cutting)</p>
+
+<p class="indent"><span class="smcap">CR</span> <i>The Shoemaker&#39;s
+Holiday</i> (Scribner; Dutton) (Requires cutting)</p>
+
+<p class="indent"><span class="smcap">CR</span> Heywood <i>The Fair Maid
+of the West</i> (Scribner) (Requires cutting)</p>
+
+<p class="indent"><span class="smcap">SR</span> Jonson, <i>The Sad
+Shepherd</i> (Dutton) (Requires cutting)</p>
+
+<p class="indent"><span class="smcap">CR</span> <i>The Case is
+Altered</i> (in any complete set of Ben Jonson) (Requires cutting)</p>
+
+<p class="indent"><span class="pagenum"><a name="page116" id="page116"></a>[pg&nbsp;116]</span>Shakespeare (no plays need be mentioned.
+The &quot;Ben Greet Shakespeare for Amateurs&quot;
+contains good directions for staging
+and acting)</p>
+
+<p class="indent"><span class="smcap">C</span> Udall, <i>Ralph Roister Doister</i> (Macmillan;
+Dent) (Requires cutting)</p>
+
+<p class="indent"><span class="smcap">CR</span> Goldsmith, <i>The Good-natured Man</i> (in any
+edition of Goldsmith&#39;s plays)</p>
+
+<p class="indent"><span class="smcap">CR</span> <i>She Stoops to Conquer</i> (in any edition of
+Goldsmith&#39;s plays)</p>
+
+<p class="indent"><span class="smcap">CR</span> Sheridan, <i>The Rivals</i> (in any edition of
+Sheridan&#39;s plays)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The School for Scandal</i> (in any edition
+of Sheridan&#39;s plays)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Critic</i> (in any edition of Sheridan&#39;s
+plays)</p>
+
+<p class="indent"><span class="smcap">CR</span> Pinero, <i>Trelawney of the &#39;Wells&#39;</i> (Dramatic
+Publishing Company) (F)<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_12_12" id="Footnote_12_12"></a>
+<a href="#FNanchor_12_12">
+<span class="label">[12]</span></a>
+Apply to Sanger &amp; Jordan, 1432 Broadway, New York, for
+acting rights.</p>
+</div>
+</div>
+
+<p class="indent"><span class="smcap">CR</span> Housman, <i>A Chinese Lantern</i> (Dramatic
+Publishing Company) (F)</p>
+
+<p class="indent"><span class="smcap">CR</span>* <i>Bird in Hand</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">SRD</span>* <i>A Likely Story</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">CR</span>* <i>As Good as Gold</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">SRD</span>* <i>The Snow Man</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">SR</span>* <i>Nazareth</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">SR</span>* <i>The Lord of the Harvest</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="pagenum"><a name="page117" id="page117"></a>[pg&nbsp;117]</span>
+<span class="smcap">SR</span>* <i>The Return of Alcestis</i> (Samuel French)
+(F)</p>
+
+<p class="indent"><span class="smcap">CR</span> (and Barker), <i>Prunella</i> (Little, Brown)
+(F)</p>
+
+<p class="indent"><span class="smcap">CR</span> Shaw, <i>The Devil&#39;s Disciple</i> (Brentano) (F)<a href="#Footnote_13_13" class="fnanchor">[13]</a></p>
+
+<p class="indent"><span class="smcap">CR</span> Parker, <i>Pomander Walk</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Barrie, <i>Pantaloon</i> (Scribner) (F)<a href="#Footnote_13_13" class="fnanchor">[13]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_13_13" id="Footnote_13_13"></a>
+<span class="label">[13]</span>
+Apply to American Play Company, 33 West 42nd St., New York.</p>
+</div>
+</div>
+
+<p class="indent"><span class="smcap">CR</span> Bennett and Knoblauch, <i>Milestones</i> (Doran)
+(F)</p>
+
+<p class="indent"><span class="smcap">CR</span> Noyes, <i>Sherwood</i> (Stokes) (F)</p>
+
+<p class="indent"><span class="smcap">CR</span> Tennyson, <i>The Princess</i> (in any complete
+edition of Tennyson)</p>
+
+<p class="indent"><span class="smcap">CR</span> <i>The Foresters</i> (in any complete edition
+of Tennyson)</p>
+
+<p class="indent"><span class="smcap">SR</span>* <i>The Falcon</i> (in any complete edition of
+Tennyson)</p>
+
+<p class="indent"><span class="smcap">R</span>* Lord Dunsany, <i>The Gods of the Mountain</i>
+(Little, Brown) (F)</p>
+
+<p class="indent"><span class="smcap">CR</span>* <i>The Lost Silk Hat</i> (Little, Brown) (F)</p>
+
+<p class="indent"><span class="smcap">CRD</span>* <i>The Glittering Gate</i> (Little, Brown) (F)</p>
+
+<p class="indent"><span class="smcap">R</span> <i>King Argimenes and the Unknown
+Warrior</i> (Little, Brown) (F)</p>
+
+<p class="indent"><span class="smcap">RS</span>* Yeats, <i>The Land of Heart&#39;s Desire</i> (Macmillan;
+Samuel French)</p>
+
+<p class="indent"><span class="smcap">CD</span>* <i>The Pot of Broth</i> (Macmillan) (F)<a href="#Footnote_14_14" class="fnanchor">[14]</a></p>
+
+<p class="indent"><span class="smcap">RS</span>* <i>Deirdre</i> (Macmillan) (F)<a href="#Footnote_14_14" class="fnanchor">[14]</a></p>
+
+<p class="indent"><span class="smcap">RS</span>* <i>The King&#39;s Threshold</i> (Macmillan) (F)<a href="#Footnote_14_14" class="fnanchor">[14]</a></p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_14_14" id="Footnote_14_14"></a>
+<span class="label">[14]</span>
+Apply to Samuel French, 28 West 38th St., New York.</p>
+</div>
+</div>
+
+<blockquote>
+<p class="indent"><span class="pagenum"><a name="page118" id="page118"></a>[pg&nbsp;118]</span>
+<span class="smcap">CRD</span>* Lady Gregory, <i>The Rising of the Moon</i>
+(Putnam) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p class="indent"><span class="smcap">CD</span>* <i>The Workhouse Ward</i> (Putnam) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p class="indent"><span class="smcap">SRD</span>* <i>The Travelling Man</i> (Putnam) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p class="indent"><span class="smcap">CD</span>* <i>Spreading the News</i> (Putnam) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p class="indent"><span class="smcap">CD</span>* <i>The Jackdaw</i> (Putnam) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p class="indent"><span class="smcap">CD</span>* <i>Hyacinth Halvey</i> (Putnam) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p class="indent"><span class="smcap">SD</span>* Hyde, <i>The Lost Saint</i> (Scribner)</p>
+
+<p class="indent"><span class="smcap">SD</span>* <i>The Twisting of the Rope</i> (Poet Lore)</p>
+
+<p class="indent"><span class="smcap">CD</span>* Mayne, <i>The Turn of the Road</i> (Luce) (F)</p>
+
+<p class="indent"><span class="smcap">CD</span> <i>The Drone</i> (Luce) (F)</p>
+
+<p class="indent"><span class="smcap">SD</span>* Synge, <i>The Shadow of the Glen</i> (Luce) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p class="indent"><span class="smcap">CD</span> Boyle, <i>The Building Fund</i> (Gill, Dublin) (F)</p>
+
+<p class="indent"><span class="smcap">RC</span>* Downs, <i>The Maker of Dreams</i> (Samuel
+French) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+</blockquote>
+
+<h4>Sanskrit</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">SR</span> Kalidasa, <i>Sakountala</i> (Walter Scott, London;
+and Everyman&#39;s Library)</p>
+
+<h4>Bengali</h4>
+
+<p class="indent"><span class="smcap">RS</span> Tagore, <i>The Post-Office</i> (Macmillan) (F)<a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_15_15" id="Footnote_15_15"></a>
+<span class="label">[15]</span>
+Apply to Samuel French, 28 West 38th St., New York.</p>
+</div>
+</div>
+
+<h3>MODERN PLAYS (NINETEENTH AND TWENTIETH CENTURIES,
+IN WHICH THE COSTUMES AND SETTINGS
+ARE MODERN)</h3>
+
+<h4>Italian</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">S</span> Giacosa, <i>As the Leaves</i> (in &quot;The Drama
+No. 1, and by Little, Brown)</p>
+</blockquote>
+
+<blockquote>
+<p class="indent"><span class="pagenum"><a name="page119" id="page119"></a>[pg&nbsp;119]</span>
+<span class="smcap">S</span> <i>The Stronger</i> (in &quot;The Drama&quot;, May,
+1913, and by Little, Brown)</p>
+</blockquote>
+
+<h4>French</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">C</span>* Augier, <i>The Post-Script</i> (Samuel French, and
+in &quot;Four Plays by Emile Augier&quot;,
+Alfred A. Knopf)</p>
+
+<p class="indent"><span class="smcap">SC</span> <i>The House of Fourchambault</i> (Samuel
+French, and in &quot;Four Plays by Emile
+Augier&quot;, Alfred A. Knopf)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Meilhac and Halévy, <i>Indian Summer</i> (Samuel
+French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* <i>Panurge&#39;s Sheep</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Feuillet, <i>The Village</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Labiche, <i>The Two Cowards</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Grammar</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span> Pailleron, <i>The Art of Being Bored</i> (Samuel
+French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Bernard, <i>French Without a Master</i> (Samuel
+French)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>I&#39;m Going!</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Donnay, <i>They!</i> (In &quot;Lovers, The Free
+Woman, and They!&quot; (Little, Brown)</p>
+
+<p class="indent"><span class="smcap">S</span> France, <i>Crainquebille</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Maurey, <i>Rosalie</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Hervieu, <i>Modesty</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">S</span> Capus, <i>The Adventurer</i> (&quot;The Drama&quot;,
+November, 1914)</p>
+</blockquote>
+
+<blockquote>
+<p class="indent"><span class="pagenum"><a name="page120" id="page120"></a>[pg&nbsp;120]</span>
+<span class="smcap">C</span> <i>Brignol and his Daughter</i> (Samuel
+French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Caillavet, <i>Choosing a Career</i> (Samuel
+French)</p>
+</blockquote>
+
+<h4>German</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">SC</span> Freytag, <i>The Journalists</i> (&quot;The Drama&quot;,
+February, 1913)</p>
+
+<p class="indent"><span class="smcap">RC</span>* Sudermann, <i>The Far-Away Princess</i> (in
+&quot;Roses&quot;, Scribner, and separately, by
+Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">S</span>* <i>Fritzchen</i> (in &quot;Morituri&quot;, Scribner)</p>
+
+<p class="indent"><span class="smcap">C</span>* Benedix, <i>The Law-Suit</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>The Third Man</i> (Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Gyalui, <i>After the Honeymoon</i> (Samuel
+French)</p>
+</blockquote>
+
+<h4>Scandinavian</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">S</span>* Strindberg, <i>The Stronger</i> (Scribner) (F)</p>
+
+<p class="indent"><span class="smcap">SB</span> <i>Lucky Pehr</i> (Stewart and Kidd) (F)</p>
+
+<p class="indent"><span class="smcap">SC</span> Björnson, <i>The Newly-Married Couple</i>
+(Everyman&#39;s Library; Dutton)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Love and Geography</i> (Scribner)</p>
+
+<p class="indent"><span class="smcap">S</span> Ibsen, <i>An Enemy of the People</i> (Scribner)</p>
+</blockquote>
+
+<h4>Russian</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">C</span>* Tchekoff, <i>The Boor</i> (Samuel French; Scribner)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>A Marriage Proposal</i> (Samuel French;
+Scribner)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>The Tragedian in Spite of Himself</i>
+(Scribner)</p>
+</blockquote>
+
+<blockquote>
+<p class="indent"><span class="pagenum"><a name="page121" id="page121"></a>[pg&nbsp;121]</span>
+<span class="smcap">C</span>* Andreyev, <i>The Dear Departing</i> (Henderson,
+London), and [same play] <i>Love of One&#39;s
+Neighbor</i> (Boni, New York)</p>
+</blockquote>
+
+<h4>English</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">C</span> Pinero, <i>The Schoolmistress</i> (Walter H. Baker)
+(F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Magistrate</i> (Walter H. Baker) (F)</p>
+
+<p class="indent"><span class="smcap">CS</span> <i>The Benefit of the Doubt</i> (Dramatic
+Publishing Company) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Amazons</i> (Walter H. Baker) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Dandy Dick</i> (Walter H. Baker) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> Jones, <i>The Man&oelig;uvres of Jane</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">CS</span> <i>The Liars</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Dolly Reforming Herself</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> Wilde, <i>The Importance of Being Earnest</i>
+(Walter H. Baker; Nichols; Luce; Putnam;
+and French)<a href="#Footnote_16_16" class="fnanchor">[16]</a></p>
+
+<p class="indent"><span class="smcap">C</span>* Sutro, <i>The Bracelet</i> (Samuel French; Brentano)
+(F&mdash;Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* Sutro, <i>The Man on the Kerb</i> (Samuel
+French; Brentano) (F&mdash;Samuel French)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>A Marriage Has Been Arranged</i> (Samuel
+French; Brentano) (F&mdash;Samuel French)</p>
+
+<p class="indent"><span class="smcap">CR</span>* Barrie, <i>The Will</i> (Scribner) (F)<a href="#Footnote_16_16" class="fnanchor">[16]</a></p>
+
+<p class="indent"><span class="smcap">CR</span>* <i>The Twelve-Pound Look</i> (Brentano)
+(F)<a href="#Footnote_16_16" class="fnanchor">[16]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_16_16" id="Footnote_16_16"></a>
+<span class="label">[16]</span>
+Apply to Sanger &amp; Jordan.</p>
+</div>
+</div>
+</blockquote>
+
+<blockquote>
+<p class="indent"><span class="pagenum"><a name="page122" id="page122"></a>[pg&nbsp;122]</span>
+<span class="smcap">CR</span> <i>The Admirable Crichton</i> (Doran) (F)<a href="#Footnote_17_17" class="fnanchor">[17]</a></p>
+
+<p class="indent"><span class="smcap">CR</span> <i>Quality Street</i> (Doran) (F)<a href="#Footnote_17_17" class="fnanchor">[17]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_17_17" id="Footnote_17_17"></a>
+<span class="label">[17]</span>
+Apply to Sanger &amp; Jordan.</p>
+</div>
+</div>
+
+<p class="indent"><span class="smcap">C</span> Shaw, <i>You Never Can Tell</i> (Brentano) (F)<a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p class="indent"><span class="smcap">CR</span> <i>Candida</i> (Brentano) (F)<a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Press Cuttings</i> (Brentano) (F)<a name="FNanchor_18_18" id="FNanchor_18_18">[18]</a></p>
+
+<p class="indent"><span class="smcap">C</span>* <i>How He Lied to Her Husband</i> (Brentano)
+(F)<a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p class="indent"><span class="smcap">CR</span> <i>Arms and the Man</i> (Brentano) (F)<a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_18_18" id="Footnote_18_18"></a>
+<span class="label">[18]</span>
+Apply to American Play Co.</p>
+</div>
+</div>
+
+<p class="indent"><span class="smcap">s</span> Barker, <i>The Voysey Inheritance</i> (Little,
+Brown) (F)</p>
+
+<p class="indent"><span class="smcap">SC</span> Bennett, <i>What the Public Wants</i> (Doran)
+(F)</p>
+
+<p class="indent"><span class="smcap">RC</span> <i>Milestones</i> (Doran) (F)</p>
+
+<p class="indent"><span class="smcap">S</span> <i>Cupid and Commonsense</i> (Doran) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Great Adventure</i> (Doran) (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Polite Farces</i> (Doran) (F)</p>
+
+<p class="indent"><span class="smcap">S</span> Baker, <i>Chains</i> (Luce) (F)</p>
+
+<p class="indent"><span class="smcap">S</span>* Gibson, <i>Mates</i> (Macmillan) (F)</p>
+
+<p class="indent"><span class="smcap">S</span>* <i>On the Road</i> (Macmillan) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> Hankin, <i>The Cassilis Engagement</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Return of the Prodigal</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Charity that Began at Home</i>
+(Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* Houghton, <i>The Dear Departed</i> (Samuel
+French) (F)</p>
+</blockquote>
+
+<blockquote>
+<p class="indent"><span class="pagenum"><a name="page123" id="page123"></a>[pg&nbsp;123]</span>
+<span class="smcap">C</span>* <i>The Fifth Commandment</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Phipps</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">SC</span> Houghton, <i>Independent Means</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">S</span> Galsworthy, <i>The Silver Box</i> (Scribner) (F)<a href="#Footnote_19_19" class="fnanchor">[19]</a></p>
+
+<p class="indent"><span class="smcap">C</span> <i>Joy</i> (Scribner) (F)<a href="#Footnote_19_19" class="fnanchor">[19]</a></p>
+
+<p class="indent"><span class="smcap">SC</span> Hamilton, <i>Just to Get Married</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">SC</span>* Chapin, <i>Augustus in Search of a Father</i>
+(Gowans and Grey, London) (F)</p>
+
+<p class="indent"><span class="smcap">DCR</span>* Brighouse, <i>Lonesome Like</i> (Samuel French)
+(F)</p>
+
+<p class="indent"><span class="smcap">SD</span>* <i>The Price of Coal</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> Monkhouse, <i>The Education of Mr. Surrage</i>
+(Sidgwick and Jackson, London) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> Mason, <i>Green Stockings</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">SD</span> Ervine, <i>Jane Clegg</i> (Holt) (F)</p>
+
+<p class="indent"><span class="smcap">DCR</span>* Fenn and Pryce, <i>&#39;Op o&#39; me Thumb</i> (Samuel
+French) (F)</p>
+</blockquote>
+
+<h4>American</h4>
+
+<blockquote>
+<p class="indent"><span class="smcap">S</span> Gillette, <i>Secret Service</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">S</span> <i>Held by the Enemy</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Too Much Johnson</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> MacKaye, <i>Anti-Matrimony</i> (Stokes) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> Thomas (A. E.), <i>Her Husband&#39;s Wife</i>
+(Doubleday, Page) (F)<a href="#Footnote_19_19" class="fnanchor">[19]</a></p>
+</blockquote>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_19_19" id="Footnote_19_19"></a>
+<span class="label">[19]</span>
+Apply to Samuel French for producing rights.</p>
+</div>
+</div>
+
+<blockquote>
+<p class="indent"><span class="pagenum"><a name="page124" id="page124"></a>[pg&nbsp;124]</span>
+<span class="smcap">S</span>* Middleton, <i>The Failures</i> (Holt) (F)<a href="#Footnote_20_20" class="fnanchor">[20]</a></p>
+
+<p class="indent"><span class="smcap">S</span>* <i>The Groove</i> (Holt) (F)<a href="#Footnote_20_20" class="fnanchor">[20]</a></p>
+
+<p class="indent"><span class="smcap">S</span>* <i>Tradition</i> (Holt) (F)<a href="#Footnote_20_20" class="fnanchor">[20]</a></p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_20_20" id="Footnote_20_20"></a>
+<span class="label">[20]</span>
+Apply to Samuel French for producing rights.</p>
+</div>
+</div>
+
+<p class="indent"><span class="smcap">C</span>* Macmillan, <i>Short Plays</i> (Stewart and Kidd)
+(F)</p>
+
+<p class="indent"><span class="smcap">C</span> Forbes, <i>The Commuters</i> (Samuel French)
+(F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Traveling Salesman</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">S</span> Klein, <i>The Lion and the Mouse</i> (Samuel
+French) (F)</p>
+
+<p class="indent"><span class="smcap">R</span> Thomas, <i>Arizona</i> (Dramatic Publishing
+Company) (F)</p>
+
+<p class="indent"><span class="smcap">RD</span> <i>Alabama</i> (Dramatic Publishing Company)
+(F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Mrs. Leffingwell&#39;s Boots</i> (Samuel French)
+(F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Other Girl</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>Oliver Goldsmith</i> (Samuel French) (F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Earl of Pawtucket</i> (Samuel French)
+(F)</p>
+
+<p class="indent"><span class="smcap">C</span> <i>The Capitol</i> (Samuel French) (F)</p>
+</blockquote>
+
+<h3>COLLECTED VOLUME OF PLAYS</h3>
+
+<p>1. <i>Representative One-Act Plays by American
+Authors</i>, edited by Margaret G. Mayorga (Little,
+<span class="pagenum"><a name="page125" id="page125"></a>[pg&nbsp;125]</span>
+Brown), contains a large number of suitable plays
+for amateurs. Among these are:</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">R</span>* <i>Sam Average</i>, by Percy MacKaye (F)</p>
+
+<p class="indent"><span class="smcap">R</span>* <i>Six Who Pass While the Lentils Boil</i>, by
+Stuart Walker (F)</p>
+
+<p class="indent"><span class="smcap">S</span>* <i>In the Zone</i>, by Eugene O&#39;Neill (F)</p>
+
+<p class="indent"><span class="smcap">R</span>* <i>The Wonder Hat</i>, a Harlequinade by Ben
+Hecht and Kenneth Sawyer Goodman
+(F)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Suppressed Desires</i>, by George Cram Cook
+and Susan Glaspell (F)</p>
+
+<p class="indent"><span class="smcap">S</span>* <i>The Last Straw</i>, by Bosworth Crocker (F)</p>
+</blockquote>
+
+<p>2. <i>Representative One-Act Plays by British and
+Irish Authors</i>, edited by Barrett H. Clark (Little,
+Brown), contains, among others, the following plays
+suited to the requirements of amateurs:</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">R</span>* <i>The Widow of Wasdale Head</i>, by Arthur
+Pinero (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Rococo</i>, by Granville Barker (F)</p>
+
+<p class="indent"><span class="smcap">R</span>* <i>The Snow Man</i>, by Lawrence Housman (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Fancy Free</i>, by Stanley Houghton (F)</p>
+</blockquote>
+
+<p>3. <i>Fifty Contemporary One-Act Plays</i>, edited by
+Frank Shay and Pierre Loving (Stewart-Kidd),
+includes the following plays for amateurs:</p>
+
+<blockquote>
+<p class="indent"><span class="smcap">C</span>* <i>Literature</i>, by Arthur Schnitzler (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>Françoise&#39; Luck</i>, by Georges de Porto-Riche
+(F)</p>
+
+<p class="indent"><span class="smcap">S</span>* <i>Mary&#39;s Wedding</i>, by Gilbert Carman (F)</p>
+
+<p class="indent"><span class="smcap">C</span>* <i>A Sunny Morning</i>, by the Quinteros (F)</p>
+</blockquote>
+
+<p class="indent"><span class="pagenum"><a name="page127" id="page127"></a>[pg&nbsp;127]</span></p>
+
+<hr class="hr2" />
+
+<h2>APPENDICES</h2>
+
+<h2>APPENDIX I</h2>
+
+<h3>COPYRIGHT AND ROYALTY</h3>
+
+<p class="indent"><span class="smcap">The</span> following statement
+regarding royalties on amateur plays was prepared by Mr. Allen J.
+Carter, an attorney of Chicago, for one of the Drama League pamphlets
+listing amateur plays:</p>
+
+<blockquote> <p class="indent">&quot;The copyright law of the United
+States requires that every play, whether published or unpublished, for
+which copyright protection is claimed, must be registered in the
+copyright office at Washington, D.C. Until such registration, no action
+for infringement of copyright can be maintained. The register of
+copyrights keeps a complete record and index of all copyright entries
+and publishes a catalogue of such entries at regular intervals. Dramatic
+works are entered under Class D and are found indexed under that heading
+in Part I, Group II of the catalogues. Copies of these catalogues are on
+file in most of the larger public libraries, and
+<span class="pagenum"><a name="page128" id="page128"></a>[pg&nbsp;128]</span>
+sets or parts of sets may be purchased from the Superintendent of Public
+Documents at Washington, D.C. Anyone wishing to learn whether a
+particular play has been properly entered for copyright need only
+consult a set of these catalogues. If such a set is not available, the
+information will be promptly furnished by the register of copyrights,
+Washington, D.C, upon request.</p>
+
+<p class="indent">&quot;Whenever a play has been published, examination
+of a copy of an authorized printed edition will disclose whether such
+play has been properly copyrighted. The law requires that a notice of
+copyright must be placed either upon the title page, or upon the page
+immediately following, of each copy published or offered for sale in the
+United States. Such notice must consist either of the word
+&#39;Copyright&#39; or the abbreviation &#39;Copr.&#39;, accompanied by
+the name of the copyright proprietor and the year in which copyright was
+secured by publication. If published prior to March 4, 1909, the notice
+may also be in the following form: &#39;Entered according to Act of
+Congress in the year &mdash;&mdash;, by A. B. in the office of the
+Librarian of Congress at Washington.&#39; Whenever the author of a play
+or anyone to whom he has assigned his rights publishes such play without
+proper notice of copyright in some one of the three authorized forms
+above mentioned, the play then and forever after becomes the property of
+the public and may be performed and printed at <span class="pagenum"><a
+name="page129" id="page129"></a>[pg&nbsp;129]</span> will by anyone. No
+subsequent attempt to copyright such play would be valid, and any valid
+copyright previously secured would be vitiated.</p>
+
+<p class="indent">&quot;A play which has never been published nor
+offered for sale, and which exists only in manuscript form, may be
+copyrighted upon proper entry being made at the copyright office in
+Washington, D.C. Should such play be later published, however, the
+publication must comply with all the requirements of the law as to
+notice of copyright.</p>
+
+<p class="indent">&quot;Any person who infringes the copyright in any
+play shall be liable: (a) To an injunction restraining said
+infringement; (b) to pay actual damages to the copyright proprietor, or
+in place of actual damages $100.00 for the first infringing performance
+and $50.00 for each succeeding one; (c) to imprisonment not to exceed
+one year, or to a fine not to exceed $1,000.00, or both, wherever such
+person has infringed such copyright wilfully and for profit.</p>
+
+<p class="indent">&quot;It follows, therefore, that if any group of
+amateurs perform a copyrighted play without having obtained the consent
+of the author or copyright proprietor, they are collectively liable to
+damages of at least $100.00 under whatever conditions the performance is
+given. If they do it wilfully and for profit, they are in addition each
+individually liable to fine and imprisonment under the criminal
+provision of the act.&quot;</p>
+</blockquote>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page130" id="page130"></a>[pg&nbsp;130]</span></p>
+
+<h2>APPENDIX II</h2>
+
+<h3>A NOTE ON MAKE-UP</h3>
+
+<p class="indent"><span class="smcap">Make-up</span> as an art and a
+science does not properly fall within the scope of the present volume.
+However, it has been thought advisable to insert at this place sections
+from an interesting paper on make-up by one who has made a thorough
+study of the subject. The author acknowledges his obligation to Miss
+Grace Griswold, who wrote the article, for permission to make this use
+of it.</p>
+
+<p class="cnobmargin"><i>How and Where Lines Come</i></p>
+<p class="cnomargins"><i>into the Face</i></p>
+<p class="cnomargins"><i>A Study in Make-up</i></p>
+<p class="cnomargins"><i>by</i></p>
+<p class="cnotmargin"><i>Grace Griswold</i></p>
+
+<p class="indent">Nearly all great actors are masters of make-up. They
+must be, for the illusions of the stage are no less pictorial than those
+of painting and sculpture, with the added elements of movement and
+voice, all of which must be brought into working harmony with the
+thought and feeling of the part,
+<span class="pagenum"><a name="page131" id="page131"></a>[pg&nbsp;131]</span>
+in a perfect portrayal. Any serious incongruity in externals is felt at
+once, and destroys the illusion.</p>
+
+<p class="indent">Women have not done as much as men in facial
+transformation, except in the way of burlesque and grotesquerie.
+Women&#39;s make-ups, on the whole, are far more conventional. The
+female face is more difficult to change without revealing the tricks.
+Heavy furrows and deep coloring are possible only for low types. Men can
+effect great changes by the use of beards and moustaches. A woman&#39;s
+art must be far subtler.</p>
+
+<p class="indent">Look at the men across the way.<a
+name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21"
+class="fnanchor">[21]</a> Notice their eyes. We always see the eyes
+first, although the mouth is a more unerring key to character. The mouth
+for emotions and impulses, and the eyes for thoughts. As the mouth is
+the gateway of the soul, so the eyes are its windows, but, like all
+windows, their function is rather to give light and view to the interior
+than to expose it to the impertinence of passers-by.... His level brows,
+which show him to be of a practical or scientific turn of mind, are
+deeply contracted. So much so, that not only are there two perpendicular
+lines between them, but one across the top of the nose as well. The
+heavy bone formation which the brows outline,
+<span class="pagenum"><a name="page132" id="page132"></a>[pg&nbsp;132]</span>
+indicates rare powers of observation. But this man has come a cropper.
+See how restless and unseeing are his eyes! He is searching for a
+solution to the problem which is troubling him. It is a purely
+intellectual problem, for the mouth, which is the indication of the
+emotions and passions, is unaffected by what is going on above. There is
+nothing sinister about the problem: you see that the eyes are wide open.
+Now it is settled, because he appears focussed: he is following a single
+line of thought.</p>
+
+<div class="footnotes">
+<div class="footnote">
+<p><a name="Footnote_21_21" id="Footnote_21_21"></a>
+<a href="#FNanchor_21_21">
+<span class="label">[21]</span></a>
+It was imperative that the long article be abridged. The reference here
+is to Miss Griswold&#39;s first sentence: &quot;... take a ride with me
+in the subway, where we may perhaps glean some impressions for character
+portrayal upon the stage.&quot;</p>
+</div>
+</div>
+
+<p class="indent">Now observe the man on the right. He too is thinking
+hard, but his mouth is drawn, jaws set, eyelids puckered to a mere slit.
+He has been wronged, or believes he has, and is planning retaliation.
+His nostrils are dilated, his breathing heavy. Both these men are
+laboring under excitement, but we cannot read their natures, because
+their habitual expression is distorted.</p>
+
+<p class="indent">Do you see that dear soul opposite? There is work
+behind that face, work that has brought with it health. There has been
+good living, but no intemperance. See the strong muscles and the glow in
+the cheeks, with their Santa Claus rotundity. There is passion, too, but
+it is restrained: the lips are full, but the center line is straight.
+With less control, that line would tend to sag. Melancholia is also
+indicated in downward lines. In the case of this woman, the lip is
+perhaps too heavy to
+<span class="pagenum"><a name="page133" id="page133"></a>[pg&nbsp;133]</span>
+show delicacy of character, but it shows broad sympathy, and is redeemed
+by its upper consort, which reveals, except at the corners, a
+cupid&#39;s bow, full of tenderness. The Venus de Milo hardly escapes
+censure even with the lateral shortness of the lower lip and the
+softened outlines of the upper. This woman&#39;s mouth is larger,
+denoting generosity. Now look at the eyes&mdash;open just to the degree
+of frankness, but not of insincerity, like those of the vapid young
+person across the way. There are radiations from the corners, too: the
+footprints of many a pleasant smile. The eyebrows have the sympathetic
+upward sweep toward the nose, and there is a whimsical twist of the left
+eyebrow. Altogether, a pleasant countenance.</p>
+
+<p class="indent">A perfectly straight compressed mouth always implies
+strength of will.</p>
+
+<p class="indent">Now notice the woman just beyond with her high-bred
+aristocratic face. The &quot;executive&quot; nose, with its delicate
+arch, are especially indicative of her character. The eyebrows likewise
+are arched, over a full forehead; very imaginative. The eyes, slightly
+veiled in their expression, show her to be plunged in deep and somewhat
+troubled thought. Her eyes are veiled because she does not see clearly a
+way out of her problem, but that way out will be, we are sure, something
+noble. Her problem is not so exclusively an intellectual one as that of
+the man we mentioned: it must be some economic or
+<span class="pagenum"><a name="page134" id="page134"></a>[pg&nbsp;134]</span>
+philanthropical question&mdash;her chin is finely chiselled and held
+with exquisite poise, strong and at the same time delicate. Her
+complexion has the &quot;pale cast of thought&quot;, but is not
+unhealthy however. The flesh lies easily upon its firm base. It will
+never warp into deep furrows. See, now she has solved or put aside her
+problem, for a moment, and her eyes are open and clear, and her smile,
+as she recognizes a friend, is engaging and unaffected. Her sympathies
+are less personal, more detached, but none the less real, than other
+women&#39;s.</p>
+
+<p class="indent">And now see this man who has just entered. He, too, is
+an aristocrat, but as he turns, we can observe that there is a one-sided
+twist to his face. The bone formation in his face is similar to that of
+the woman&#39;s, but his expression is exaggerated by a muscular habit
+of the mouth, possibly occasioned by the loss of teeth. His eyes are
+open, but they express impassive coldness. He has taken life with a
+sneer. His brows are not arched, although one of them is artificially
+raised: the result, undoubtedly, of boredom.</p>
+
+<p class="indent">Habitual good-humor ages the face in a pleasant
+manner. It is the only thing that never grows old: do you remember what
+genial sparkling eyes Joseph Jefferson and Mark Twain had?</p>
+
+<p class="indent">Bearing in mind these summary character studies, let
+us turn to the more practical side of make-up:</p>
+
+<p class="indent">Regarding <i>straight</i> make-up&mdash;<i>i.e.</i>
+make-up which
+<span class="pagenum"><a name="page135" id="page135"></a>[pg&nbsp;135]</span>
+is designed to offset the glare of the lights&mdash;it can safely be
+asserted that most professionals make-up too heavily. This is partially
+due to the fact that the lights in the dressing-room are seldom of like
+intensity or kind as those on the stage. Billie Burke and Blanche Ring
+occur to us as having achieved happy results in making-up, the former
+with a rose-bud prettiness of white and pink, the latter by using so
+little color and blending that little so well that it is scarcely
+perceivable. Both these actresses use very little rouge on the upper
+eyelids, an excess of which is one of the commonest faults. The only
+purpose it can serve is to soften the upward and whitening glare of the
+footlights. The skilful use of rouge is the most important and least
+understood of all the numerous elements of this art. First as to shade,
+most of the rouge used is blue. It does not blend with most powders, but
+produces a hard contrast, and appears unnatural. The placing of the
+rouge, too, is very important in obviating natural defects of proportion
+in the features, which distances always intensify. Any spot left white
+is projected as if with a high-light. If the nose is too wide, it can be
+narrowed by shading the rouge up to its center line. If it is too
+prominent, it will be less apparent if shaded slightly all over. The
+same rule applies to the chin, the jaw, the ears, and the forehead. Some
+people lay in a general foundation of grease rouge before putting
+<span class="pagenum"><a name="page136" id="page136"></a>[pg&nbsp;136]</span>
+anything else on, but this is likely to give a muddy effect. If used
+only on the cheeks, with the dry rouge over all for shading, the effect
+is far more natural. Some also lay in a foundation of pink
+paste&mdash;called &quot;Exora&quot;&mdash;but the result is nearly
+always pasty, and should never be used except to cover some blotchiness.
+The lighter the make-up, the greater opportunity will there be for
+mobility of expression.</p>
+
+<p class="indent">The same moderation should be exercised in making up
+the eyes and mouth. Brown on the lashes and eyebrows is softer than
+black, especially for blondes. Heavy black leading above and below,
+accentuated by broad shadows on the lids of dark blue, make them look
+like burnt holes a short distance away. Few eyes are large enough to
+stand it, and those that are, do not require it. A little light or dark
+blue close to the lashes of the upper lid is necessary, but very few
+eyes need any make-up at all on the lower lid, except a faint shadow,
+perhaps, of light blue. A little dab of lip rouge in the inner corners
+of the eye adds an effect of brilliancy. If the eye itself slants, it
+can be straightened by a line of brown or black, drawn in the opposite
+direction, and beginning just inside the outer corners. The line of the
+upper lids and the eyebrows should be extended in almost every case, to
+give an effect of breadth to the eyes.</p>
+
+<p class="indent">If the face needs lengthening and the eyebrows
+<span class="pagenum"><a name="page137" id="page137"></a>[pg&nbsp;137]</span>
+are not too heavy, they can be covered with flesh-colored grease paint,
+and another pair painted above them. There is danger in this, however,
+of opening the frame of the eyes too much and giving them a foolish
+expression. The arched brow tends to elongate, the level, broad effect
+to shorten, the face.</p>
+
+<p class="indent">The mouth also needs careful treatment. As to color:
+the dark red rouge so often used gives the appearance of a bloody gash.
+The English hunting red, a sort of bluish vermilion, is best, because
+most natural. Only the very smallest mouths can stand being made up to
+the corners, because in smiling, the mouth stretches, and will look too
+large if deeply colored all the way across.</p>
+
+<p class="indent">A line of white grease paint drawn down the bridge of
+the nose will straighten it; or, if it be too small, lengthen it. The
+nose may also be completely transformed by putty.</p>
+
+<p class="indent">This brings us to what is known as the
+&quot;character&quot; make-up. Here again one is confronted by
+numberless problems regarding the use of colors. At best, character
+make-up is only the adjustment of one physiognomy to the habitual
+expression of another: complete transformation is out of the question.
+Nevertheless, the human face, being mobile, may assume expressions which
+are not habitual to it. However, it must be borne in mind that to
+superimpose a purely imaginary countenance
+<span class="pagenum"><a name="page138" id="page138"></a>[pg&nbsp;138]</span>
+over a natural one, regardless of what that natural one is, is a fatal
+mistake, because when the natural face attempts to express itself under
+the other, the effect will be lost.</p>
+
+<p class="indent">To return a moment to the problem of color: illusion
+is frequently lost through a failure to adjust the shade of the
+high-light and shadow to the tone of the foundation grease paint, or
+natural complexion. The commonest offence is the use of an unmixed,
+unblended slate for shadows, and white, and high-lights, whether the
+underlying color be florid, sallow, pink, or pale flesh. The result of
+such treatment is merely paint.</p>
+
+<p class="indent">The whole art of making-up is still hide-bound by
+tradition, because of stupid ideals which persist in the minds of those
+whose business it is to direct, as well as many in the acting profession
+itself.</p>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page139" id="page139"></a>[pg&nbsp;139]</span></p>
+
+<h2>INDEX</h2>
+
+<hr class="hr2" />
+
+<p class="indent"><span class="pagenum"><a name="page141" id="page141"></a>[pg&nbsp;141]</span></p>
+
+<h3>INDEX</h3>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&quot;ALCESTIS&quot;, <a href="#page4">4</a></span><br />
+<span class="i0">Aristophanes, <a href="#page5">5</a></span><br />
+<span class="i0">Art adviser, <a href="#page17">17</a></span><br />
+<span class="i0">&quot;Art of Being Bored, The&quot;, <a href="#page48">48</a></span><br />
+<span class="i2">Quoted, <a href="#page53">53</a>, <a href="#page54">54</a>-57</span><br />
+<span class="i2">Stage grouping of, <a href="#page54">54</a>-57</span><br />
+<span class="i0">&quot;As You Like It&quot;, <a href="#page2">2</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">BACKGROUNDS, <a href="#page106">106</a>-107</span><br />
+<span class="i0">Barker, Granville, <a href="#page6">6</a></span><br />
+<span class="i0">Belasco, David, <a href="#page89">89</a>, <a href="#page106">106</a></span><br />
+<span class="i0">&quot;Blocking out&quot;, <a href="#page24">24</a>, <a href="#page61">61</a></span><br />
+<span class="i2">Example of, <a href="#page24">24</a>-33</span><br />
+<span class="i0">&quot;Blue Bird, The&quot;, <a href="#page108">108</a></span><br />
+<span class="i0">&quot;Box sets&quot;, <a href="#page82">82</a>, <a href="#page89">89</a>, <a href="#page91">91</a>, <a href="#page100">100</a></span><br />
+<span class="i0">&quot;Brignol and His Daughter&quot;, Setting for, <a href="#page102">102</a>, <a href="#page103">103</a></span><br />
+<span class="i0">Business manager, Duties of, <a href="#page11">11</a>-12, <a href="#page14">14</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&quot;CALL BOY&quot;, DUTY OF, <a href="#page16">16</a></span><br />
+<span class="i0">Capus, Alfred, <a href="#page102">102</a></span><br />
+<span class="i0">Cast, Ability of, <a href="#page2">2</a></span><br />
+<span class="i2">Selection of, <a href="#page19">19</a>, <a href="#page20">20</a></span><br />
+<span class="i2">Size of, <a href="#page2">2</a></span><br />
+<span class="i0">&quot;Chantecler&quot;, <a href="#page108">108</a></span><br />
+<span class="i0">Characterization by amateurs, <a href="#page2">2</a>, <a href="#page3">3</a>, <a href="#page4">4</a></span><br />
+<span class="i0">Cheney, Seldon, <a href="#page76">76</a> (<i>Note</i>), <a href="#page77">77</a></span><br />
+<span class="i0">Classics, <a href="#page2">2</a>, <a href="#page3">3</a>, <a href="#page4">4</a></span><br />
+<span class="i0">&quot;Clouds, The&quot;, <a href="#page5">5</a></span><br />
+<span class="i0">Coach, Selection of, <a href="#page20">20</a>, <a href="#page21">21</a></span><br />
+<span class="i0">Comedies, <a href="#page4">4</a></span><br />
+<span class="i0">&quot;Comedy of Errors, The&quot;, <a href="#page2">2</a>, <a href="#page3">3</a>, <a href="#page5">5</a></span><br />
+<span class="i2">Setting for, <a href="#page93">93</a>-94</span><br />
+<span class="i0">Costume man, Duties of, <a href="#page10">10</a>, <a href="#page14">14</a>, <a href="#page15">15</a>, <a href="#page17">17</a></span><br />
+<span class="i0">Costumes, <a href="#page14">14</a>-15</span><br />
+<span class="i2">Accuracy of, <a href="#page108">108</a>-109</span><br />
+<span class="i0">&quot;Costumes and Scenery for Amateurs&quot;, <a href="#page81">81</a></span><br />
+<span class="i0">Craig, Gordon, <a href="#page102">102</a></span><br />
+<span class="i0">Crowds or large groups, Rehearsing of, <a href="#page15">15</a>, <a href="#page58">58</a>, <a href="#page59">59</a></span><br />
+<span class="i0">Curtain man, Duties of, <a href="#page10">10</a></span><br />
+<span class="i0">Cyclorama, <a href="#page78">78</a>-81, <a href="#page84">84</a>, <a href="#page88">88</a></span><br />
+<span class="i2">Construction of, <a href="#page78">78</a>, <a href="#page79">79</a>-80, <a href="#page81">81</a></span><br />
+<span class="i2">Description of, <a href="#page78">78</a></span><br />
+<span class="i2">Value of, <a href="#page78">78</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">DE VEGA, LOPE, <a href="#page4">4</a></span><br />
+<span class="i0">Deutsches Theater (Berlin), <a href="#page95">95</a></span><br />
+<span class="i0">Diagram, Making of, <a href="#page40">40</a>-46, <a href="#page60">60</a></span><br />
+<span class="i0">Director, Duties of, <a href="#page8">8</a>-10, <a href="#page14">14</a>, <a href="#page16">16</a>, <a href="#page17">17</a>, <a href="#page20">20</a>, <a href="#page23">23</a>, <a href="#page24">24</a>, <a href="#page28">28</a>, <a href="#page34">34</a>, <a href="#page52">52</a>, <a href="#page58">58</a>, <a href="#page59">59</a>, <a href="#page64">64</a>, <a href="#page67">67</a>, <a href="#page73">73</a></span><br />
+<span class="i0">&quot;Doctor in Spite of Himself&quot;, <a href="#page5">5</a></span><br />
+<span class="i0">&quot;Doll&#39;s House, A&quot;, <a href="#page2">2</a></span><br />
+<span class="i0">Draperies, <a href="#page80">80</a>, <a href="#page83">83</a>, <a href="#page92">92</a>, <a href="#page98">98</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&quot;ELECTRA&quot;, <a href="#page4">4</a></span><br />
+<span class="i0">Electrician, <a href="#page13">13</a></span><br />
+<span class="i0">Euripides, <a href="#page4">4</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&quot;FAN, THE&quot;, <a href="#page5">5</a></span><br />
+<span class="i0">&quot;Far-away Princess, The&quot;, Setting for, <a href="#page100">100</a>-101</span><br />
+<span class="i0">Farces, <a href="#page4">4</a></span><br />
+<span class="i0">Footlights, <a href="#page86">86</a>, <a href="#page87">87</a>, <a href="#page89">89</a></span><br />
+<span class="i2">Boxed, <a href="#page84">84</a></span><br />
+<span class="i0"><span class="pagenum"><a name="page142" id="page142"></a>[pg&nbsp;142]</span>
+Fortuny lighting system, <a href="#page86">86</a>, <a href="#page88">88</a></span><br />
+<span class="i0">Furniture, Handling and setting of, <a href="#page15">15</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">GOLDONI, <a href="#page4">4</a>, <a href="#page5">5</a></span><br />
+<span class="i0">Gregory, Lady, <a href="#page90">90</a></span><br />
+<span class="i0">Grouping actors, <a href="#page48">48</a>, <a href="#page58">58</a>, <a href="#page59">59</a>, <a href="#page61">61</a></span><br />
+<span class="i2">Examples of, <a href="#page50">50</a>-52, <a href="#page53">53</a>-57, <a href="#page58">58</a>-59, <a href="#page63">63</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&quot;HAMLET&quot;, <a href="#page4">4</a></span><br />
+<span class="i0">Handling and setting of scenery and furniture, <a href="#page15">15</a>, <a href="#page17">17</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">IMITATION OF PROFESSIONALS, <a href="#page68">68</a>, <a href="#page69">69</a></span><br />
+<span class="i0">&quot;Importance of Being Earnest, The&quot;, <a href="#page3">3</a></span><br />
+<span class="i2">&quot;Blocked out&quot;, <a href="#page28">28</a>-34</span><br />
+<span class="i2">Quoted, <a href="#page24">24</a>-28</span><br />
+<span class="i0">&quot;Indian Summer&quot;, Quoted, <a href="#page71">71</a>-72</span><br />
+<span class="i0">Interpretation by amateurs, <a href="#page69">69</a>-70</span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">JONES, HENRY ARTHUR, <a href="#page3">3</a>, <a href="#page46">46</a>, <a href="#page47">47</a>, <a href="#page48">48</a></span><br />
+<span class="i0">&quot;Julius Cæsar&quot;, Costumes of, <a href="#page108">108</a></span><br />
+<span class="i2">Grouping in, <a href="#page58">58</a>-59</span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">KLEIN, CHARLES, <a href="#page89">89</a></span><br />
+<span class="i0">Kotzebue, <a href="#page4">4</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&quot;LE BOURGEOIS GENTILHOMME,&quot; <a href="#page3">3</a>,5</span><br />
+<span class="i0">Lessing, <a href="#page4">4</a>, <a href="#page5">5</a></span><br />
+<span class="i0">Lessing Theater, Berlin, <a href="#page107">107</a></span><br />
+<span class="i0">&quot;Liars, The&quot;, <a href="#page3">3</a>, <a href="#page46">46</a>, <a href="#page47">47</a></span><br />
+<span class="i2">Quoted, <a href="#page46">46</a>, <a href="#page50">50</a></span><br />
+<span class="i2">Stage grouping of, <a href="#page49">49</a>-52</span><br />
+<span class="i0">Lighting, Stage, <a href="#page76">76</a>, <a href="#page78">78</a>-79, <a href="#page85">85</a>, <a href="#page89">89</a></span><br />
+<span class="i2">Examples of, <a href="#page89">89</a>, <a href="#page90">90</a></span><br />
+<span class="i2">Fortuny system of, <a href="#page86">86</a>, <a href="#page88">88</a></span><br />
+<span class="i2">Kinds of:</span><br />
+<span class="i4">Arc, <a href="#page88">88</a></span><br />
+<span class="i4">Border, <a href="#page86">86</a></span><br />
+<span class="i4">Calcium, <a href="#page88">88</a></span><br />
+<span class="i4">Footlights, <a href="#page84">84</a>, <a href="#page86">86</a>, <a href="#page87">87</a>, <a href="#page89">89</a></span><br />
+<span class="i0">Lightman, Duties of, <a href="#page10">10</a>, <a href="#page13">13</a>-14, <a href="#page15">15</a></span><br />
+<span class="i0">&quot;Lysistrata&quot;, <a href="#page5">5</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">MACKAY, CONSTANCE D&#39;ARCY, <a href="#page82">82</a></span><br />
+<span class="i0">&quot;Magistrate, The&quot;, <a href="#page4">4</a></span><br />
+<span class="i0">&quot;Man and Superman&quot;, <a href="#page4">4</a></span><br />
+<span class="i0">&quot;Marrying of Ann Leete, The&quot;, <a href="#page6">6</a></span><br />
+<span class="i0">&quot;Merchant of Venice, The&quot;, <a href="#page85">85</a></span><br />
+<span class="i0">&quot;Milestones&quot;, <a href="#page109">109</a></span><br />
+<span class="i0">&quot;Minna von Barnhelm&quot;, <a href="#page5">5</a></span><br />
+<span class="i0">&quot;Modern Movement in the Theatre, The&quot;, <a href="#page76">76</a> (<i>Note</i>)</span><br />
+<span class="i0">Modern plays, <a href="#page4">4</a>, <a href="#page6">6</a></span><br />
+<span class="i0">Moderwell, Hiram Kelly, <a href="#page76">76</a> (<i>Note</i>), <a href="#page77">77</a></span><br />
+<span class="i2">Quoted, <a href="#page86">86</a>-87</span><br />
+<span class="i0">Modulation, Example of, <a href="#page71">71</a>-72</span><br />
+<span class="i0">Molière, <a href="#page3">3</a>, <a href="#page4">4</a>, <a href="#page5">5</a></span><br />
+<span class="i0">Music, <a href="#page15">15</a>, <a href="#page17">17</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&quot;Music Master, The&quot;, Lighting of, <a href="#page89">89</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">ORIGINAL PLAYS, <a href="#page6">6</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">PAILLERON, EDOUARD, <a href="#page48">48</a></span><br />
+<span class="i0">&quot;Peer Gynt&quot;, Setting for, <a href="#page107">107</a></span><br />
+<span class="i0">Performance, Essentials of, <a href="#page74">74</a> <a href="#page75">75</a></span><br />
+<span class="i0">&quot;Phormio&quot;, <a href="#page5">5</a></span><br />
+<span class="i0">Plautus, <a href="#page5">5</a></span><br />
+<span class="i0">Plays, &quot;Cutting&quot;, <a href="#page23">23</a></span><br />
+<span class="pagenum"><a name="page143" id="page143"></a>[pg&nbsp;143]</span>
+<span class="i0">Plays, Kind of, <a href="#page8">8</a>-7</span><br />
+<span class="i2">Classic, <a href="#page2">2</a>, <a href="#page3">3</a>, <a href="#page4">4</a>, <a href="#page5">5</a>, <a href="#page6">6</a>, <a href="#page14">14</a></span><br />
+<span class="i2">Comedies, <a href="#page4">4</a></span><br />
+<span class="i2">Farces, <a href="#page4">4</a></span><br />
+<span class="i2">Modern, <a href="#page4">4</a>, <a href="#page5">5</a></span><br />
+<span class="i2">Original, <a href="#page6">6</a></span><br />
+<span class="i2">Problem, <a href="#page4">4</a></span><br />
+<span class="i2">Sex, <a href="#page4">4</a></span><br />
+<span class="i2">Thesis, <a href="#page4">4</a></span><br />
+<span class="i2">Translated, <a href="#page6">6</a></span><br />
+<span class="i2">Reading of, <a href="#page23">23</a>-24</span><br />
+<span class="i0">Plotting the stage, Examples of, <a href="#page41">41</a>-45, <a href="#page49">49</a>-52</span><br />
+<span class="i0">Problem plays, <a href="#page4">4</a></span><br />
+<span class="i0">Prompt-copy, Making of, <a href="#page34">34</a></span><br />
+<span class="i0">Prompter, Duty of, <a href="#page75">75</a></span><br />
+<span class="i0">Property man, Duties of, <a href="#page10">10</a>, <a href="#page12">12</a>, <a href="#page13">13</a>, <a href="#page15">15</a>, <a href="#page75">75</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">Proscenium, <a href="#page81">81</a></span><br />
+<span class="i2">Alteration of, <a href="#page81">81</a>, <a href="#page82">82</a>, <a href="#page83">83</a>, <a href="#page84">84</a>, <a href="#page103">103</a>-104</span><br />
+<span class="i2">Diagrams of, <a href="#page82">82</a>, <a href="#page83">83</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">REHEARSALS, <a href="#page15">15</a>, <a href="#page22">22</a>, <a href="#page58">58</a>, <a href="#page59">59</a>, <a href="#page61">61</a>, <a href="#page66">66</a>, <a href="#page67">67</a>, <a href="#page68">68</a>, <a href="#page70">70</a></span><br />
+<span class="i2">First, <a href="#page22">22</a>-24, <a href="#page61">61</a></span><br />
+<span class="i2">Second, <a href="#page24">24</a>, <a href="#page61">61</a>, <a href="#page66">66</a></span><br />
+<span class="i2">Dress, <a href="#page73">73</a>, <a href="#page74">74</a></span><br />
+<span class="i2">Scene and light, <a href="#page74">74</a></span><br />
+<span class="i0">Reinhardt, Max, <a href="#page95">95</a>, <a href="#page106">106</a></span><br />
+<span class="i0">Revolving stage, <a href="#page85">85</a></span><br />
+<span class="i0">&quot;Rising of the Moon, The&quot;, Lighting of, <a href="#page90">90</a></span><br />
+<span class="i0">&quot;Rivals, The&quot;, <a href="#page3">3</a>, <a href="#page5">5</a></span><br />
+<span class="i0">&quot;Romancers, The&quot;, <a href="#page15">15</a>, <a href="#page106">106</a>, <a href="#page108">108</a></span><br />
+<span class="i2">Setting for, <a href="#page97">97</a>-99</span><br />
+<span class="i0">Rostand, <a href="#page13">13</a>, <a href="#page97">97</a>, <a href="#page108">108</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">SCENERY, HANDLING AND SETTING OF, <a href="#page15">15</a>, <a href="#page17">17</a></span><br />
+<span class="i0">&quot;Scrap of Paper, A&quot;, Setting for, <a href="#page104">104</a>-105</span><br />
+<span class="i0">Screens, <a href="#page83">83</a>, <a href="#page92">92</a>, <a href="#page102">102</a>-103, <a href="#page104">104</a></span><br />
+<span class="i0">Settings, Stage, <a href="#page77">77</a>, <a href="#page81">81</a>, <a href="#page82">82</a>, <a href="#page83">83</a>, <a href="#page85">85</a>, <a href="#page89">89</a>, <a href="#page91">91</a></span><br />
+<span class="i2">&quot;Box sets&quot;, <a href="#page82">82</a>, <a href="#page89">89</a>, <a href="#page91">91</a></span><br />
+<span class="i2">Examples of, <a href="#page93">93</a>-94, <a href="#page95">95</a>-97, <a href="#page97">97</a>-99, <a href="#page100">100</a>-101, <a href="#page102">102</a>-106</span><br />
+<span class="i0">Sex plays, <a href="#page4">4</a></span><br />
+<span class="i0">Shakespeare&#39;s plays, Settings for, <a href="#page92">92</a>, <a href="#page98">98</a>-94, <a href="#page94">94</a>-97, <a href="#page97">97</a>-99, <a href="#page106">106</a></span><br />
+<span class="i2">Stage business of, <a href="#page52">52</a></span><br />
+<span class="i0">Shaw, G. Bernard, <a href="#page3">3</a>, <a href="#page13">13</a>, <a href="#page34">34</a>, <a href="#page47">47</a></span><br />
+<span class="i0">Sheridan, Richard Brinsley, <a href="#page3">3</a>, <a href="#page5">5</a></span><br />
+<span class="i0">&quot;She Stoops to Conquer&quot;, <a href="#page5">5</a></span><br />
+<span class="i0">Simpson, J. Palgrave, <a href="#page104">104</a></span><br />
+<span class="i0">Sophocles, <a href="#page4">4</a></span><br />
+<span class="i0">Staff, Duties of members of, <a href="#page9">9</a>-17, <a href="#page73">73</a>-75</span><br />
+<span class="i2">Head of (Director) <a href="#page8">8</a>-10</span><br />
+<span class="i2">Organization of, <a href="#page8">8</a>-16</span><br />
+<span class="i0">Stage, Physical requirements of, <a href="#page76">76</a></span><br />
+<span class="i2">Revolving, <a href="#page85">85</a></span><br />
+<span class="i2">Wagon, <a href="#page85">85</a></span><br />
+<span class="i0">Stage &quot;business&quot;, <a href="#page52">52</a>, <a href="#page61">61</a>, <a href="#page62">62</a>, <a href="#page64">64</a>, <a href="#page66">66</a>, <a href="#page69">69</a>-70,</span><br />
+<span class="i2">Examples of, <a href="#page62">62</a>, <a href="#page63">63</a>-64, <a href="#page65">65</a></span><br />
+<span class="i2">How to remember, <a href="#page60">60</a></span><br />
+<span class="i0">Stage directions, <a href="#page28">28</a> (<i>Note</i>)</span><br />
+<span class="i2">For &quot;You Never Can Tell&quot;, <a href="#page35">35</a>-40</span><br />
+<span class="i0">Stage grouping, <i>see</i> <span class="smcap">Grouping</span></span><br />
+<span class="i2">Lighting, <i>see</i> <span class="smcap">Lighting</span></span><br />
+<span class="i2">Manager, Duties of, <a href="#page10">10</a>-11, <a href="#page13">13</a>, <a href="#page14">14</a>, <a href="#page15">15</a>, <a href="#page16">16</a>, <a href="#page22">22</a>, <a href="#page23">23</a>, <a href="#page28">28</a>, <a href="#page74">74</a></span><br />
+<span class="i2">Settings, <i>see</i> <span class="smcap">Settings</span></span><br />
+<span class="i0">Sudermann, Hermann, <a href="#page100">100</a></span><br />
+<span class="i0">&quot;Sumurûn&quot;, Background for, <a href="#page106">106</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0"><span class="pagenum"><a name="page144" id="page144"></a>[pg&nbsp;144]</span>
+TERENCE, <a href="#page5">5</a></span><br />
+<span class="i0">&quot;Theatre of To-day, The&quot;, <a href="#page76">76</a> (<i>Note</i>), <a href="#page79">79</a></span><br />
+<span class="i0">Thesis plays, <a href="#page4">4</a></span><br />
+<span class="i0">Translations, <a href="#page6">6</a></span><br />
+<span class="i0">&quot;Twelfth Night&quot;, Settings for, <a href="#page94">94</a>-99, <a href="#page106">106</a></span><br />
+<span class="i0">&quot;Twins, The&quot;, <a href="#page5">5</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">UNDERSTUDIES, <a href="#page16">16</a>, <a href="#page21">21</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">WAGON STAGE, <a href="#page85">85</a></span><br />
+<span class="i0">Wardrobe mistress, <i>see</i> <span class="smcap">Costume Man</span></span><br />
+<span class="i0">Warfield, David, <a href="#page89">89</a></span><br />
+<span class="i0">Wilde, Oscar, <a href="#page3">3</a>, <a href="#page24">24</a>, <a href="#page47">47</a></span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&quot;YOU NEVER CAN TELL&quot;, <a href="#page3">3</a>, <a href="#page13">13</a></span><br />
+<span class="i2">Diagram of, <a href="#page40">40</a>-45</span><br />
+<span class="i2">Quoted, <a href="#page35">35</a>-40</span><br />
+<span class="i2">Stage directions of, <a href="#page40">40</a></span><br />
+</div>
+</div>
+
+<hr class="hr2" />
+
+<div class="tnote">
+<h2>Transcriber Notes:</h2>
+
+<p class="indent">Throughout the dialogues, there were words used to
+mimic accents of the speakers. Those words were retained as-is.</p>
+
+<p class="indent">The illustrations have been moved so that they do not
+break up paragraphs and so that they are next to the text they
+illustrate. Thus the page number of the illustration might not match the
+page number in the List of Illustrations, and the order of illustrations
+may not be the same in the List of Illustrations and in the book.</p>
+
+<p class="indent">Errors in punctuations and inconsistent hyphenation
+were not corrected unless otherwise noted.</p>
+
+<p class="indent">On page 115, &quot;Minna Von Barnhelm&quot; was
+replaced with &quot;Minna von Barnhelm&quot;.</p>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's How to Produce Amateur Plays, by Barrett H. Clark
+
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+
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@@ -0,0 +1,4168 @@
+Project Gutenberg's How to Produce Amateur Plays, by Barrett H. Clark
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to Produce Amateur Plays
+       A Practical Manual
+
+Author: Barrett H. Clark
+
+Release Date: June 11, 2012 [EBook #39973]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO PRODUCE AMATEUR PLAYS ***
+
+
+
+
+Produced by David Starner, Ernest Schaal, and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+                      HOW TO PRODUCE AMATEUR PLAYS
+
+
+
+
+        [Illustration: SETTING FOR A POETIC DRAMA. BY SAM HUME.
+         (Courtesy of the artist).]
+
+
+
+
+                             HOW TO PRODUCE
+                             AMATEUR PLAYS
+
+                          _A Practical Manual_
+
+                                   BY
+
+                            BARRETT H. CLARK
+
+                        NEW AND REVISED EDITION
+
+
+                             [Illustration]
+
+
+                                 BOSTON
+                       LITTLE, BROWN, AND COMPANY
+                                  1923
+
+
+
+
+                        _Copyright, 1917, 1922_,
+
+                     BY LITTLE, BROWN, AND COMPANY.
+
+                         _All rights reserved_
+
+                PRINTED IN THE UNITED STATES OF AMERICA
+
+
+
+
+                     PREFACE TO THE REVISED EDITION
+
+
+This book aims to supply the demand for a simple guide to the production
+of plays by amateurs. During the past decade a number of books dealing
+with the subject have been published, but these are concerned either
+with theoretical and educational, or else with limited and, from the
+practical viewpoint, unessential aspects of the question. In the present
+manual the author has attempted an altogether practical work, which may
+be used by those who have little or no knowledge of producing plays.
+
+The book is not altogether limited in its appeal merely to producers;
+actors themselves and others having to do with amateur producing will
+find it helpful. The author has added a number of suggestions on a
+matter which is rapidly becoming of prime importance: the construction
+of stages and setting, and the manipulation of lighting.
+
+It is always well to bear in mind that no art can be taught by means of
+books. The chief purpose of this volume is to lay down the elements and
+outline the technique of amateur producing.
+
+A careful study of it will enable the amateur stage manager to do much
+for himself which has heretofore been either impossible or attended with
+dire difficulty.
+
+The plan of the book is simple: each question and problem is treated in
+its natural order, from the moment an organization decides to "give a
+play", until the curtain drops on the last performance of it.
+
+This new edition of "How to Produce Amateur Plays" has been revised
+throughout, and the list of plays in Chapter X completely re-written and
+brought up to date.
+
+The author acknowledges his indebtedness for suggestions and help, as
+well as for permission to reproduce diagrams, photographs, and passages
+from plays, to Mr. T. R. Edwards, Mr. Hiram Kelly Moderwell, Mr. L. R.
+Lewis, Mr. Clayton Hamilton, Miss Grace Griswold, Miss Edith Wynne
+Matthison, Mr. Maurice Browne, Miss Ida Treat, Mr. Sam Hume, John Lane
+Company, Samuel French, Brentano's, and Henry Holt and Company.
+
+                                                         MARCH, 1922
+
+
+
+
+                                CONTENTS
+
+
+        CHAPTER                                             PAGE
+
+        PREFACE                                                v
+
+      I CHOOSING THE PLAY                                      1
+
+     II ORGANIZATION                                           8
+
+    III CHOOSING THE CAST                                     18
+
+     IV REHEARSING I                                          22
+
+      V REHEARSING II                                         48
+
+     VI REHEARSING III                                        73
+
+     VII THE STAGE                                            76
+
+    VIII LIGHTING                                             86
+
+      IX SCENERY AND COSTUMES                                 91
+
+       X SELECTIVE LISTS OF AMATEUR PLAYS                    110
+
+
+        APPENDICES
+
+      I COPYRIGHT AND ROYALTY                                127
+
+     II A NOTE ON MAKE-UP                                    130
+
+      INDEX                                                  139
+
+
+
+
+                         LIST OF ILLUSTRATIONS
+
+
+    SETTING FOR A POETIC DRAMA, BY SAM HUME       _Frontispiece_
+
+                                                            PAGE
+
+    "THE GROTESQUES", BY CLOYD HEAD. PRODUCED
+        AT THE LITTLE THEATER, CHICAGO                         8
+
+    "THE TROJAN WOMEN" OF EURIPIDES. PRODUCED
+        AT THE LITTLE THEATER, CHICAGO                        18
+
+    "CAPTAIN BRASSBOUND'S CONVERSION", BY SHAW.
+        SET OF ACT I, AS PRODUCED BY THE NEIGHBORHOOD
+        PLAYHOUSE, NEW YORK                                   22
+
+    SET FOR MUSSET'S "WHIMS." PRODUCED BY THE
+        WASHINGTON SQUARE PLAYERS                             48
+
+    "SISTER BEATRICE" OF MAETERLINCK. PRODUCED
+        AT THE WESTERN RESERVE COLLEGE FOR
+        WOMEN                                                 74
+
+    TWO VIEWS OF THE STAGE AT TUFTS COLLEGE,
+        SHOWING PLENTY OF OPEN SPACE FOR THE
+        STORING AND SHIFTING OF SCENERY                       76
+
+    AN ORDINARY BOX-SET. FROM DUMAS _FILS'_ "THE
+        MONEY QUESTION." PRODUCED AT TUFTS
+        COLLEGE                                               80
+
+    SCENES FROM EURIPIDES' "ELECTRA." PRODUCED
+        AT ILLINOIS STATE COLLEGE                             90
+
+    TWO VIEWS OF THE STAGE AT THE UNIVERSITY OF
+        NORTH DAKOTA                                         106
+
+
+
+
+                         HOW TO PRODUCE AMATEUR
+                                 PLAYS
+
+
+                               CHAPTER I
+
+                           CHOOSING THE PLAY
+
+
+The first important question arising after the decision to give a play,
+is "What play?" Only too often is this question answered in a haphazard
+way. Of recent years a large number of guides to selecting plays have
+made their appearance, most of which are incomplete and otherwise
+unsatisfactory. The large lists issued by play publishers are
+bewildering. Toward the end of the present volume is a selective list of
+plays, all of which are, in one way or another, "worth while"; but as
+conditions differ so widely, it is practically impossible to do
+otherwise than merely indicate in a general way what sort of play is
+suggested.
+
+Each play considered by any organization should be read by the director
+or even the whole club or cast, after the requisite conditions have been
+considered. These conditions usually are:
+
+1. =Size of the Cast.= This is obviously a simple matter: a cast of ten
+cannot play Shakespeare.
+
+2. =Ability of the Cast.= This is a little more difficult. While it is a
+laudable ambition to produce Ibsen, let us say, no high-school students
+are sufficiently mature or skilled to produce "A Doll's House." As a
+rule, the well-known classics--Shakespeare, Moliere, Goldoni, Sheridan,
+Goldsmith--suffer much less from inadequate acting and production than
+do modern dramatists. The opinion of an expert, or at least of some one
+who has had experience in coaching amateur plays, should be sought and
+acted upon. If, for example, "As You Like It" is under consideration, it
+must be borne in mind that the role of Rosalind requires delicate and
+subtle acting, and if no suitable woman can be found for that part, a
+simpler play, like "The Comedy of Errors", had much better be
+substituted. Modern plays are on the whole more difficult: the portrayal
+of a modern character calls for greater variety, maturity, and skill
+than the average amateur possesses. The characters in Moliere's "Le
+Bourgeois Gentilhomme" ("The Merchant Gentleman"), Shakespeare's "The
+Comedy of Errors", Sheridan's "The Rivals", are more or less well-known
+types, and acting of a conventional and imitative kind is better suited
+to them. On the other hand, only the best-trained amateurs are able to
+impart the needful appearance of life and actuality to a play like Henry
+Arthur Jones's "The Liars." Still, there are many modern plays--among
+them, Shaw's "You Never Can Tell" and Wilde's "The Importance of Being
+Earnest"--in which no great subtlety of characterization is called for.
+These can be produced as easily by amateurs as can Shakespeare and
+Sheridan.
+
+3. =The Kind of Play= to be presented usually raises many questions
+which are entirely without the scope of purely dramatic considerations.
+In this country especially, there is a studied avoidance among schools
+and often among colleges and universities, of so-called "unpleasant
+plays." Without entering into the reasons for this aversion, it is
+rather fortunate, because as a general rule, "thesis", "sex", and
+"problem" plays are full of pitfalls for amateur actors and producers.
+
+While it is a splendid thing to believe no play too good for amateurs,
+some moderation is necessary where a play under consideration is
+obviously beyond the ability of a cast: "Hamlet" ought never to be
+attempted by amateurs, nor such subtle and otherwise difficult plays as
+"Man and Superman." Plays of the highest merit can be found which are
+not so taxing as these. There is no reason why Sophocles' "Electra",
+Euripides' "Alcestis", or the comedies of Lope de Vega, Goldoni,
+Moliere, Kotzebue, Lessing, not to mention the better-known English
+classics, should not be performed by amateurs.
+
+It goes without saying that the facile, trashy, "popular" comedies of
+the past two or three generations are to be avoided by amateurs who take
+their work seriously. This does not mean that all farces and comedies
+should be left out of the repertory: "The Magistrate" and "The
+Importance of Being Earnest" are among the finest farces in the
+language. The point to be impressed is that it is better to attempt a
+play which may be more difficult to perform than "Charley's Aunt", than
+to give a good performance of that oft-acted and decidedly hackneyed
+piece. It is much more meritorious to produce a good play poorly, if
+need be, than a poor play well.
+
+If, after having consulted the list in this volume and similar other
+lists, the club is still unable to decide on a suitable modern play, the
+best course is to return to the classics. It is likely that the plays
+that have pleased audiences for centuries will please us. Aristophanes'
+"The Clouds" and "Lysistrata", with a few necessary "cuts"; Plautus'
+"The Twins" and Terence's "Phormio"; Goldoni's "The Fan"; Shakespeare's
+"Comedy of Errors" and half a dozen other comedies; Moliere's "Merchant
+Gentleman" and "Doctor in Spite of Himself"; Sheridan's "The Rivals" and
+Goldsmith's "She Stoops to Conquer"; Lessing's "Minna von
+Barnhelm"--almost any one of these is "safe." A classic can never be
+seen too often and, since true amateurs are those who play for the joy
+of playing, they will receive ample recompense for their efforts in the
+thought that they have at least added their mite to the sum total of
+true enjoyment in the theater. Another argument in favor of the
+performance of the classics is that they are rarely produced by
+professionals. If an amateur club revives a classic, especially one
+which is not often seen nowadays, it may well be proud of its efforts.
+
+If, however, the club insists on giving a modern play, it will have
+little difficulty in finding suitable material. It is well not to
+challenge comparison with professional productions by choosing plays
+which have had professional runs of late; try rather to select (1) good
+modern plays which by reason of their subject matter, form, etc., cannot
+under present conditions be commercially successful (like Granville
+Barker's "The Marrying of Ann Leete"); (2) translations of contemporary
+foreign plays which are not well known either to American readers or
+producers; and, finally (3) original plays. Here it is difficult to
+advise. It cannot be hoped that an amateur club will discover many
+masterpieces among original plays submitted to it, but if any of the
+works considered has even a touch of originality, some good
+characterization, any marked technical skill; in a word, if there is
+something interesting or promising, then it is worth producing.
+Doubtless many beginners are discouraged from writing plays for lack of
+experience gained by seeing their work staged; for such, the amateur
+club is the only resource.
+
+Besides these particular considerations, there remain the minor but
+necessary points relating to rights and royalties. A full statement of
+the legal aspect of the case is to be found in the first appendix in
+this book.
+
+
+
+
+[Illustration: "THE GROTESQUES", BY CLOYD HEAD. PRODUCED AT THE LITTLE
+THEATER, CHICAGO
+
+A shallow cyclorama. The simple design forms an effective background for
+the grouping of the figures.
+
+(Courtesy of Maurice Browne).]
+
+
+
+
+                               CHAPTER II
+
+                              ORGANIZATION
+
+
+A great many more factors go into the making of a successful dramatic
+production than may at first be apparent. To organize a staff whose duty
+it is to furnish and equip a theater, hall, or schoolroom; to arrange
+and efficiently run rehearsals; to supply "props", costumes, and
+furniture; to manage the stage during the performance--all this is next
+in importance to the acting itself.
+
+Of late years especially it has been made clear that the art of the
+theater, although it is a collaboration of the brains and hands of many
+persons, must be under the supervision of one dominating and far-seeing
+chief. That is to say, one person and one alone must be responsible for
+the entire production. Except in rare instances this head cannot know of
+and attend to each detail himself, but it is his business to see that
+the whole organization is formed and managed according to his wishes.
+The function of this ideal manager has been compared with that of the
+orchestral conductor: it is he who leads, and he should be the first to
+detect the slightest discord. While the foregoing remarks are more
+strictly applicable to acting and staging, it will readily be seen that
+if the same leader is not in touch with the more practical side of the
+production, there is likely to arise that working at cross-purposes
+which has ruined many an amateur as well as professional production.
+While a great deal of the actual work must be done by subordinates, it
+should be clearly understood that the director has the final word of
+authority.
+
+Much in the matter of organization depends upon the number and ability
+and experience of those persons who are available, but the suggestions
+about to be made as to the organization of a staff are based upon the
+assumption that the director is a capable person, and his assistants at
+least willing to learn from him. As a rule, he will have plenty of
+material to work with.
+
+=The Director.= The producer, the head under whose guidance the entire
+work of rehearsing and organization should lie, is called the director.
+However, since this position is often held by a hired coach or by some
+one else who cannot be expected to attend to much outside the actual
+rehearsing, there must be elected or appointed an officer who is
+directly responsible. This officer is:
+
+=The Stage Manager.= As the director cannot always be present at every
+rehearsal, and as oftentimes two parts of the play are rehearsed
+simultaneously, it is evident that another director must be ready to
+act in place of the head. It is chiefly his duty to "hold" the
+prompt-book and keep a careful record of all stage business, "cuts",
+etc. At every rehearsal he must be ready to prompt, either lines or
+"business"--action, gestures, crosses, entrances, exits, and the
+like--and call the attention of the director to omissions or mistakes of
+every sort. In the event of the director's absence, he becomes the pro
+tem. director himself.
+
+It is advisable--though not always possible--to delegate the duties of
+property man, lightman, curtain man, costume man (or wardrobe mistress)
+to different persons; but even when this is done, it is better for the
+stage manager to keep a record of all "property plots", "light plots",
+"furniture plots", etc.
+
+It is also the stage manager's business to arrange the time and place of
+rehearsals, and hold each actor responsible for attendance.
+
+On the occasion of the dress rehearsal and of the actual production, it
+is the stage manager, and not the director, who supervises everything.
+His position is that of commander-in-chief. He either holds the book, or
+is at least close by the person who actually follows the lines; sees
+that each actor is ready for his entrance; that the curtain rises and
+falls when it should; that his assistants are each in their respective
+places; and that the entire performance "goes" as it is intended to go.
+
+=The Business Manager.= This person attends to such matters as renting
+the theater--or arranging some place for the performance--printing and
+distributing tickets; in short, everything connected with the receipt
+and expenditure of money. It is not of course imperative that he should
+have much to do with the director; the only point to be borne in mind
+being that every one connected with the production of a play should be
+in touch with those in authority. The business manager ought to have at
+least a preliminary conference with the director, and report to him
+every week until a few days before the performance, when he should be
+within instant call in case of emergency. The property, light,
+furniture, and costume people must naturally keep in close touch with
+him, although no purchases should be made without the permission of the
+director, who in this case must be at one with the club or organization.
+
+=The Property Man.= The duties attaching to this position are definitely
+and necessarily limited, but of great importance. Working under the
+stage manager, he supplies all the objects--such as revolvers, swords,
+letters, etc.--in a word, everything actually _used_ by the actors, and
+not falling under the categories of "scenery", "costumes", and
+"furniture."
+
+It will be found necessary in some cases to add to the staff one person
+whose business it is to attend to the matter of furnishings: rugs,
+hangings, pictures, furniture, and so forth; but in case there is no
+such person, the property man attends to these details himself.
+
+It cannot be too strongly urged that from the very first as many
+"props", as much furniture or as many set pieces as possible (depending
+on whether the set is an indoor or outdoor one), should be used by the
+actors. In this way they will be better able to associate their
+thoughts, words, and gestures with the material objects with which they
+will be surrounded on the fatal night. If this is impracticable, that
+is, if most of these objects cannot be secured from the first, then at
+least suitable substitutes should be used. The presence of such
+fundamentally important articles as the wall in Rostand's "The
+Romancers", and the dentist's chair in Shaw's "You Never Can Tell", when
+used from the first rehearsals, always minimizes the danger of confusion
+of lines or business at the last moment.
+
+The property man must keep a list of everything required; this should be
+a duplicate of that in the possession of the stage manager.
+
+=The Lightman.= Sometimes even nowadays called the "Gasman." He is not
+indispensable, because almost always the regular electrician attends to
+the switchboard. However, some one should be with the electrician at the
+dress rehearsal and on the evening of the performance to give him the
+necessary light cues. Usually, however, the stage manager who holds the
+prompt-book where all the light cues are indicated can fulfill this
+function.
+
+=The Costume Man= (or =Wardrobe Mistress=, as the case may be). Again
+the duties are simple. If the play is a classic--Shakespeare, for
+instance,--the costumes, in ninety-nine cases out of a hundred, had
+better be rented from a regular costumer. The costume man, then,
+together with the business manager, attends to the details of renting,
+and sees that all costumes are ready for the dress rehearsal. If the
+costumes are made to order, the matter is supervised by the costume man.
+But, as with everything else connected with the best amateur efforts,
+there should be some expert adviser, not so much one versed in history
+and archeology as an artist with an eye for color and style. The
+director in any event must be consulted, so that lights, scenery, and
+costumes may harmonize. Details as to costumes are to be found in many
+books, and need not here be discussed. In spite of a good deal that has
+been written to the contrary, historical accuracy is not of vast
+importance: so long as there are no glaring anachronisms, Shakespeare
+may be presented with actors wearing pre- or post-Elizabethan costumes,
+provided they are beautiful, and harmonize.
+
+Among the thousand and one minor details of producing, there are some
+which in large productions might be assigned to specially appointed
+individuals, but most of the duties to be briefly enumerated below may
+easily be given over to the stage manager, property man, or costume man,
+or even to the lightman.
+
+_Handling and Setting of Scenery and Furniture._ This is usually taken
+care of by the property man and his assistants, under the direction of
+the stage manager. As in every other branch of the work, all details
+must be planned beforehand, and recorded.
+
+_Music._ The music cues should be marked in the stage manager's
+prompt-book. Incidental music, whether it be on, behind, or off-stage in
+the orchestra pit, ought to be rehearsed at least two or three times. On
+the occasion of the performance, the stage manager gives directions from
+his prompt-book for all music cues.
+
+_Crowds or Large Groups._ The management and rehearsing of crowds or
+large groups is considered under "Rehearsing" (p. 58). Here it will
+suffice to state that it is well to have an assistant whose duty it is
+to see that the "supes" [supernumeraries] are conducted on and off the
+stage at the right time.
+
+Among the further details which must be looked after are the duties
+which are sometimes left to the stage manager: the ringing of bells,
+calling of actors at the regular performance, etc. A "call boy" may be
+delegated to do this.
+
+_Understudies._ Trouble is always likely to arise, especially among
+amateurs, because there is no effective method of holding the actors to
+strict account. Often, one or more of the cast finds, or thinks he
+finds, good reason for leaving it, and a new actor must sometimes be
+found and trained to fill the vacancy on perilously short notice.
+Sickness or indisposition invariably give rise to the same problem. If
+possible, an entire second cast should be trained, so that any member of
+it could at a moment's notice be called upon to play in the first cast.
+While this second company should be letter-perfect and know the
+"business" in every detail, it is not necessary that their acting be so
+finished and detailed as that of the others. Understudy rehearsals are
+under the direction of the stage manager, although the director should
+witness at least two or three.
+
+Since the performance depends almost wholly on the knowledge, sympathy,
+and taste of the director, the greatest care should be taken in choosing
+him. Needless to say, the ideal director does not exist; still, his
+attributes should be constantly borne in mind. If he lacks the artist's
+sense of color, rhythm, and proportion, then an art adviser must be
+called in to suggest color schemes as regards costumes, scenery,
+furniture, and lighting. Nowadays, great attention is being paid to
+these matters, and the subtle effect of background and detail is much
+greater than is commonly supposed. The play is of first importance--that
+must never be forgotten--but these other matters are too often
+neglected.
+
+Similarly with costumes, music, scenery, it is never amiss to consult
+authorities. But once more be it repeated, the whole production should
+bear the imprint of the director's personality, because only in this way
+can we hope for that essential unity of effect which is a basic
+principle of all art.
+
+Cooperation with, but, in the last analysis, subserviency to, the
+director, is the keynote of success.
+
+
+
+
+[Illustration: "THE TROJAN WOMEN", OF EURIPIDES. PRODUCED AT THE LITTLE
+THEATER, CHICAGO.
+
+Effective grouping against a simple background. (Courtesy of Maurice
+Browne).]
+
+
+
+
+                              CHAPTER III
+
+                           CHOOSING THE CAST
+
+
+Obviously, the choice of the cast should depend upon the ability of the
+actors, although in the case of an organization like a school or college
+dramatic club, this system is not always practicable or even advisable.
+Every member of such a club should be trained to work for a common end,
+and a system by which amateurs are made to understand the necessity of
+assuming first small and unimportant roles and working up gradually to
+the greater and more important ones, makes for harmony and completeness
+of effect in performances. It should be one of the chief ends of amateur
+producing to get away from the curse of the professional stage: the star
+system. It has been stated here that the greatest emphasis must be laid
+on the play itself, and no actor, professional or amateur, should ever
+labor under the delusion that he is of greater or even as great
+importance as the play in which he strives to act his part. The average
+actor is inclined to judge a play's merit according to the sort of part
+it furnishes him; the amateur spirit has done much to do away with this
+attitude, and it is to be hoped that no coach will ever do otherwise
+than discourage it.
+
+Competition as a means of selecting a cast is in most cases the best
+method. The play once selected, the people from among whom the cast is
+to be formed are assembled. It is a good plan to have every one read the
+play first, and make a study of at least one scene of it. Then, either
+alone or in company with one, two, or three others, he reads--or recites
+from memory--the scene in question, either before the entire club or
+before a committee of judges. Each actor is judged on appearance, ease,
+voice, and insight into the character he is portraying. The judges,
+seconded possibly by the members of the club (whose votes should, by the
+way, be of only secondary importance), then select those whom they
+consider best fitted for the parts. In every case the director should
+give final sanction to the selection.
+
+In cases where members must at first assume only minor parts because of
+club rules, there may arise some difficulty: for example, a beginner may
+be better fitted to assume an important role than older club members.
+Such cases must of course be dealt with individually.
+
+In organizations which are not run on so democratic a basis, the
+director selects the cast himself. On the whole, this is much the best
+system, as the director is left a free field in which to work out his
+own problems in his own way. If it is at all possible, an amateur club
+ought to put everything, including the responsibility, into the hands of
+a competent director. In this respect, the despotism of the professional
+stage is most beneficial. Whether the coach be an outsider hired for the
+occasion, or a regular member of the club, in nine cases out of ten he
+will establish and maintain harmony, allow no real talent to languish,
+and be at least in a position to produce definite artistic results.
+Amateur management has spoiled much good material. A director with full
+authority can work more easily and efficiently if left to his own
+devices than if trammeled with rules and regulations.
+
+The theater, behind the scenes, is a despotic institution; it must be,
+but the greatest care must be taken in choosing the right despot. Should
+the coach be a professional manager or actor, or should he be an
+amateur? The question is a difficult one. There are, it goes without
+saying, many excellent directors who are or have been professionals; on
+the other hand, it cannot be denied that some of the best amateur work
+in this country has been done by directors whose experience on the
+professional stage has, to say the least, been limited. Some such
+training is beneficial, but to put a professional of many years'
+experience in charge of amateurs is likely to make of the amateurs a
+company of puppets imitating only some of the externals of
+professionaldom. The best director, therefore, seems to be a person who
+has some professional experience, but who has likewise dealt with
+amateurs; one who enters into the amateur spirit, and understands its
+difference from the professional world, and does not try to train his
+company to imitate stock actors or "stars."
+
+Understudies may be chosen in the same manner as the first cast.
+
+After the choosing of the casts, the next step is rehearsing. To this
+complicated process the next three chapters are devoted.
+
+
+
+
+[Illustration: "CAPTAIN BRASSBOUND'S CONVERSION", BY SHAW. SET OF ACT I,
+AS PRODUCED BY THE NEIGHBORHOOD PLAYHOUSE, NEW YORK.
+
+(Photo by White. Courtesy of Neighborhood Playhouse).]
+
+
+
+
+                               CHAPTER IV
+
+                               REHEARSING
+
+
+                                   I
+
+The first rehearsal should be "called" as soon as possible after the
+cast has been selected and a place chosen in which to work. If the play
+is to be performed in a regular theater, it is wise to block out the
+general action and have at least the first two or three rehearsals on
+the stage. It would be still better if all the rehearsals could be
+conducted there, but as this is seldom possible, the stage manager
+should take its dimensions and secure some room as near the size of the
+stage as he can find. A room too large or too small, or not the
+requisite shape, is more than likely to confuse the actors. As many of
+the essential "props" and articles of furniture as possible should be
+used from the very first, in order to accustom the actors to work under
+approximately the same conditions as on the occasion of the performance.
+
+If the play can be secured in printed form, each actor will have his
+copy, and a general reading to the cast by the director or stage manager
+be rendered unnecessary. However, a few remarks by him as to the nature
+and spirit of the play will not be amiss. It is not uncommon to hear of
+professionals who have never read or seen the entire play even after
+acting in it for many months. Unless each actor knows and feels what the
+play is about and enters into its spirit, there can be little chance for
+unity and harmony.
+
+"Cutting", or other alteration, is often necessary. The director should
+read his alterations and allow each actor to make his text conform with
+the prompt-copy.
+
+When the play is not obtainable in book form, each role is then copied
+from the manuscript, together with the "cues" and all the stage
+business. In this case, a general reading to the cast is imperative.
+
+The preliminaries disposed of, the play is _read_, each actor taking his
+part. This is merely to familiarize the actors with the play and show
+them briefly their relation to each other and the work as a whole. At
+this first rehearsal, there should be no attempt at acting; that is
+reserved for the next meeting.
+
+At the second rehearsal[1]--which should take place the day after the
+first--the director blocks out the action. If the play be a full-length
+one (approximately two hours) then one act of this general blocking out
+will be found to occupy all the time. If the play is in a single act,
+and provided it be not too long, then the entire play may be blocked
+ out.
+
+    [1] The system here followed must of necessity be arbitrary, but
+        the principle is easy to grasp. A great deal depends on the
+        ability of the actors and the time they can afford.
+
+What is "blocking out"? Let us take an easy example and block out the
+first few minutes' of Wilde's "The Importance of Being Earnest."[2] Here
+follows the text of the first two and a half pages:
+
+    [2] Editions published by French, Putnam, Luce, Nichols, and
+        Baker.
+
+    _Scene--Morning-room in Algernon's flat in Half Moon Street. The
+    room is luxuriously and artistically furnished. The sound of a
+    piano is heard in the adjoining room._
+
+    [LANE _is arranging afternoon tea on the table, and after the
+    music has ceased_, ALGERNON _enters_.]
+
+    ALGERNON. Did you hear what I was playing, Lane?
+
+    LANE. I didn't think it polite to listen, sir.
+
+    ALGERNON. I'm sorry for that, for your sake. I don't play
+    accurately--any one can play accurately--but I play with
+    wonderful expression. As far as the piano is concerned,
+    sentiment is my forte. I keep science for Life.
+
+    LANE. Yes, sir.
+
+    ALGERNON. And, speaking of the science of Life, have you got the
+    cucumber sandwiches cut for Lady Bracknell?
+
+    LANE. Yes, sir. [_He hands them on a salver._]
+
+    ALGERNON. [_Inspects them, takes two, and sits down on the
+    sofa._] Oh! ... by the way, Lane, I see from your book that on
+    Thursday night, when Lord Shoreman and Mr. Worthing were dining
+    with me, eight bottles of champagne are entered as having been
+    consumed.
+
+    LANE. Yes, sir, eight bottles and a pint.
+
+    ALGERNON. Why is it that at a bachelor's establishment the
+    servants invariably drink the champagne? I ask merely for
+    information.
+
+    LANE. I attribute it to the superior quality of the wine, sir. I
+    have often observed that in married households the champagne is
+    rarely of a first-rate brand.
+
+    ALGERNON. Good Heavens! Is marriage so demoralizing as that?
+
+    LANE. I believe it _is_ a very pleasant state, sir. I have had
+    very little experience of it myself up to the present. I have
+    only been married once. That was in consequence of a
+    misunderstanding between myself and a young person.
+
+    ALGERNON. [_Languidly._] I don't know that I am much interested
+    in your family life, Lane.
+
+    LANE. No, sir; it is not a very interesting subject. I never
+    think of it myself.
+
+    ALGERNON. Very natural, I am sure. That will do, Lane, thank
+    you.
+
+    LANE. Thank you, sir. [LANE _goes out_.]
+
+    ALGERNON. Lane's views on marriage seem somewhat lax. Really, if
+    the lower orders don't set us a good example, what on earth is
+    the use of them? They seem, as a class, to have absolutely no
+    sense of moral responsibility. [_Enter_ LANE.]
+
+    LANE. Mr. Ernest Worthing. [_Enter_ JACK. LANE _goes out_.]
+
+    ALGERNON. How are you, my dear Ernest? What brings you up to
+    town?
+
+    JACK. Oh, pleasure, pleasure! What else should bring me
+    anywhere? Eating as usual, I see, Algy?
+
+    ALGERNON. [_Stiffly._] I believe it is customary in good society
+    to take some slight refreshment at five o'clock. Where have you
+    been since last Thursday?
+
+    JACK. [_Sitting down on the sofa._] In the country.
+
+    ALGERNON. What on earth do you do there?
+
+    JACK. [_Pulling off his gloves._] When one is in town one amuses
+    oneself. When one is in the country one amuses other people. It
+    is excessively boring.
+
+    ALGERNON. And who are the people you amuse?
+
+    JACK. [_Airily._] Oh, neighbors, neighbors.
+
+    ALGERNON. Got nice neighbors in your part of Shropshire?
+
+    JACK. Perfectly horrid! Never speak to one of them.
+
+    ALGERNON. How immensely you must amuse them! (_Goes over and
+    takes sandwich._) By the way, Shropshire is your county, is it
+    not?
+
+    JACK. Eh? Shropshire? Yes, of course. Hallo! Why all these cups?
+    Why such extravagance in one so young? Who is coming to tea?
+
+The first point to be noticed is that the stage directions are not
+sufficient. To begin with, the only information we have as to the
+morning-room is that it is in Algernon Moncrieff's flat in Half Moon
+Street, and that it is "_luxuriously and artistically furnished_." The
+next directions--"LANE _is arranging tea on a table_"--prove that there
+_is_ a tea-table with tea things on it. We are therefore dependent on
+the ensuing dialogue and the implied or briefly described action to
+furnish clues as to the entrances, furniture, and "props" which will be
+required in the course of the act. It is, of course, the director's and
+the stage manager's business to go through the play beforehand, and have
+all these points well in mind. Let us now see how this is done, and
+proceed to block out the first part of the play.
+
+The room evidently at least has two doors: one leading into the
+hallway--up-stage Center--the other halfway down-stage Right,[3] let us
+say for the present, as in the diagram:
+
+                             [Illustration]
+
+    [3] Right and Left in stage directions mean from the actors'
+        point of view. Up-stage and down-stage mean respectively away
+        from and toward the footlights.
+
+Before Algernon's entrance, Lane, the butler, is preparing tea. Where is
+the table? Some subsequent business may necessitate its being in a
+position different from the one first chosen, but let us assume that it
+is up-stage to the right:
+
+                             [Illustration]
+
+There it is not likely to be in the way of the actors; furthermore, it
+is not on the same side of the stage as the sofa--which is the next
+article of furniture to be placed. If the table and the sofa and the
+door were all on the same side of the stage, it would be much too
+crowded, especially as the larger part of the subsequent action revolves
+about them.
+
+Lane, then, is busied with the tea things for a moment, as and after the
+curtain rises. Then the music of a piano is heard off-stage to the
+right. It stops, and a moment later Algernon enters. As he evidently has
+nothing in particular to do at that moment, he may stand at the center
+of the stage, facing Lane, who stops his work and respectfully answers
+his master's questions. When Algernon says: "And, speaking of the
+science of Life, have you got the cucumber sandwiches cut for Lady
+Bracknell?", what more natural than that he should look in the direction
+of the table, and perhaps even make a step toward it? Lane then goes to
+the table, takes up the salver with the sandwiches on it, and hands it
+to Algernon. Here there are no other directions than _"Hands them on
+salver_." The other "business" is inferred from the dialogue. Algernon
+then "_Inspects them, takes two, and sits down on the sofa_."
+
+This is the first reference to the sofa. The original prompt-copy must,
+of course, have made clear exactly where each article of furniture
+stood, but, for the reasons above enumerated, let us place the sofa as
+in the diagram:
+
+                             [Illustration]
+
+Notice now that nothing is said of the salver. But from the direction
+near the top of page 3--(Luce and Baker editions) "_Goes over and takes
+sandwich_"--we may assume that Lane takes the salver back to the table.
+Undoubtedly, he does this as Algernon sits on the sofa. This stage
+direction should be indicated in the prompt-copy, as well as in that of
+the actor playing Lane, as follows:
+
+                             [Illustration]
+
+As soon as Lane has done this, or even before, Algernon resumes his
+conversation, while Lane turns and listens to him. Lane stands somewhere
+between the table and the sofa, at a respectful distance from Algernon.
+The next "business" occurs when Algernon says "That will do, Lane, thank
+you", and Lane replies "Thank you, sir", and goes out. This brings up
+another question which is not answered, as yet at least, in the text.
+Does Lane go out Right? Possibly; or is there another entrance Left,
+leading to the butler's room? So far as we are able to determine, there
+is no good reason why the room to the right, where Algernon was playing,
+should not lead to the butler's room, or to wherever he is supposed to
+go. And in this case, there is no reason why Lane cannot, during
+Algernon's soliloquy, have heard the doorbell ring, answered it, and
+been ready to reenter, announcing, as he does: "Mr. Ernest Worthing."
+Jack then enters, Right. Although again there is no stage direction, it
+is likely that Algernon rises to greet his friend and shake hands with
+him.
+
+Once more, the stage directions, or rather the want of them, are apt to
+confuse. On the top of page 3, we read that Jack pulls "_off his
+gloves_." He wears a hat, of course, and probably a coat. He carries his
+hat in his hand, but presumably still wears his coat, and certainly his
+gloves. Lane, before he leaves, would undoubtedly take Jack's hat, help
+him off with his coat, and take them out with him. Then, before the two
+men shake hands--if they do--Jack pulls off his gloves. Jack's line,
+"Eating as usual, I see, Algy," is sufficient indication to prove that
+in one hand Algernon holds a sandwich. Algernon then sits down. The
+dramatist would surely have mentioned Jack's sitting down if that had
+been his intention; therefore Jack may stand. Now comes the direction
+about Jack's "Pulling off his gloves." What does he do with them? For
+the present, at least, let us allow him to go to the tea table, and lay
+them on it. A moment later, Algernon "_Goes over and takes sandwich_."
+He stands by the table, eating, and this attracts Jack's attention to
+the somewhat elaborate preparations for tea. Algernon then says: "By the
+way, Shropshire is your county, is it not?" But Jack, too engrossed in
+the preparations, scarcely hears the other, and answers: "Eh?
+Shropshire? Yes, of course," and so on. Then he evidently goes to the
+tea table.
+
+This is the general method of attack to be pursued. It may be that later
+in the same scene it will be necessary to go back and undo some of the
+"business", because the only available text of this play--and this is
+almost always true of printed plays--is not in prompt-copy form. The
+making, therefore, of a prompt-copy is a slow process. First, the
+director goes through the play and plans in a general way what the
+action is to be, but only by rehearsing his cast on a particular stage
+and under specific conditions, is he able to know every detail of the
+action. By the time the actors are letter-perfect, the prompt-copy ought
+likewise to be fairly perfect. It is always dangerous to change
+"business" after the actors have memorized their parts.
+
+During this preliminary blocking-out process, little or no attention
+need be paid to details: the mere outlining of the action, together with
+the reading of the lines by the actors, is sufficient.
+
+Sometimes printed plays suffer from too many stage directions, and
+occasionally even the careful Bernard Shaw, as the following extract
+will prove, is far from clear. Here are the opening pages of "You Never
+Can Tell":[4]
+
+    [4] Published separately by Brentano's.
+
+    _In a dentist's operating room on a fine August morning in 1896.
+    Not the usual tiny London den, but the best sitting-room of a
+    furnished lodging in a terrace on the sea front at a fashionable
+    watering place. The operating chair, with a gas pump and
+    cylinder beside it, is half way between the center of the room
+    and one of the corners. If you look into the room through the
+    window which lights it, you will see the fireplace in the middle
+    of the wall opposite you, with the door beside it to your left;
+    an M.R.C.S. diploma in a frame hung on the chimneypiece; an easy
+    chair covered in black leather on the hearth; a neat stool and
+    bench, with vice, tools, and a mortar and pestle in the corner
+    to the right. Near this bench stands a slender machine like a
+    whip provided with a stand, a pedal, and an exaggerated winch.
+    Recognizing this as a dental drill, you shudder and look away to
+    your left, where you can see another window, underneath which
+    stands a writing table, with a blotter and a diary on it, and a
+    chair. Next the writing table, towards the door, is a leather
+    covered sofa. The opposite wall, close on your right, is
+    occupied mostly by a bookcase. The operating chair is under your
+    nose, facing you, with the cabinet of instruments handy to it on
+    your left._ _You observe that the professional furniture and
+    apparatus are new, and that the wall paper, designed, with the
+    taste of an undertaker, in festoons and urns, the carpet with
+    its symmetrical plans of rich, cabbagy nosegays, the glass
+    gasalier with lustres, the ornamental, gilt-rimmed blue
+    candlesticks on the ends of the mantelshelf, also glass-draped
+    with lustres, and the ormolu clock under a glass cover in the
+    middle between them, its uselessness emphasized by a cheap
+    American clock disrespectfully placed beside it and now
+    indicating 12 o'clock noon, all combine with the black marble
+    which gives the fireplace the air of a miniature family vault,
+    to suggest early Victorian commercial respectability, belief in
+    money, Bible fetichism, fear of hell always at war with fear of
+    poverty, instinctive horror of the passionate character of art,
+    love and the Roman Catholic religion, and all the first fruits
+    of plutocracy in the early generations of the industrial
+    revolution._
+
+    _There is no shadow of this on the two persons who are occupying
+    the room just now. One of them, a very pretty woman in
+    miniature, her tiny figure dressed with the daintiest gaiety, is
+    of a later generation, being hardly eighteen yet. This darling
+    little creature clearly does not belong_ _to the room, or even
+    to the country; for her complexion, though very delicate, has
+    been burnt biscuit color by some warmer sun than England's; and
+    yet there is, for a very subtle observer, a link between them.
+    For she has a glass of water in her hand, and a rapidly clearing
+    cloud of spartan obstinacy on her tiny firm mouth and quaintly
+    squared eyebrows. If the least line of conscience could be
+    traced between those eyebrows, an Evangelical might cherish some
+    faint hope of finding her a sheep in wolf's clothing--for her
+    frock is recklessly pretty--but as the cloud vanishes it leaves
+    her frontal sinus as smoothly free from conviction of sin as a
+    kitten's._
+
+    _The dentist, contemplating her with the self-satisfaction of a
+    successful operator, is a young man of thirty or thereabouts. He
+    does not give the impression of being much of a workman: his
+    professional manner evidently strikes him as being a joke; and
+    it is underlain by a thoughtless pleasantry which betrays the
+    young gentleman still unsettled and in search of amusing
+    adventures, behind the newly set-up dentist in search of
+    patients. He is not without gravity of demeanor; but the
+    strained nostrils stamp it as the gravity of the humorist. His
+    eyes are clear,_ _alert, of sceptically moderate size, and yet a
+    little rash; his forehead is an excellent one, with plenty of
+    room behind it; his nose and chin cavalierly handsome. On the
+    whole, an attractive, noticeable beginner, of whose prospects a
+    man of business might form a tolerably favorable estimate._
+
+    THE YOUNG LADY (_handing him the glass_). Thank you. (_In spite
+    of the biscuit complexion she has not the slightest foreign
+    accent._)
+
+    THE DENTIST (_putting it down on the ledge of his cabinet of
+    instruments_). That was my first tooth.
+
+    THE YOUNG LADY (_aghast_). Your first! Do you mean to say that
+    you began practising on me?
+
+    THE DENTIST. Every dentist has to begin on somebody.
+
+    THE YOUNG LADY. Yes: somebody in a hospital, not people who pay.
+
+    THE DENTIST (_laughing_). Oh, the hospital doesn't count. I only
+    meant my first tooth in private practice. Why didn't you let me
+    give you gas?
+
+    THE YOUNG LADY. Because you said it would be five shillings
+    extra.
+
+    THE DENTIST (_shocked_). Oh, don't say that. It makes me feel as
+    if I had hurt you for the sake of five shillings.
+
+    THE YOUNG LADY (_with cool insolence_). Well, so you have! (_She
+    gets up._) Why shouldn't you? it's your business to hurt people.
+    (_It amuses him to be treated in this fashion; he chuckles
+    secretly as he proceeds to clean and replace his instruments.
+    She shakes her dress into order, looks inquisitively about her;
+    and goes to the window._) You have a good view of the sea from
+    these rooms! Are they expensive?
+
+    THE DENTIST. Yes.
+
+    THE YOUNG LADY. You don't own the whole house, do you?
+
+    THE DENTIST. No.
+
+    THE YOUNG LADY (_taking the chair which stands at the writing
+    table and looking critically at it as she spins it round on one
+    leg_). Your furniture isn't quite the latest thing, is it?
+
+    THE DENTIST. It's my landlord's.
+
+    THE YOUNG LADY. Does he own that nice comfortable Bath chair?
+    (_pointing to the operating chair_).
+
+    THE DENTIST. No: I have that on the hire-purchase system.
+
+    THE YOUNG LADY (_disparagingly_). I thought so. (_Looking about
+    her again in search of further conclusion._) I suppose you
+    haven't been here long?
+
+    THE DENTIST. Six weeks. Is there anything else you would like to
+    know?
+
+    THE YOUNG LADY (_the hint quite lost on her_). Any family?
+
+
+Shaw's stage directions here are more than sufficient: they are intended
+not only for the director, stage manager, property man, scene painter,
+and actor, but for the reader as well. His directions are always
+stimulating and suggestive, and should be studied by the actors; but,
+from the point of view of the director and stage manager, they are
+bewilderingly diffuse and sometimes confusing. The fact, for instance,
+that the action takes place precisely in 1896, can be of little interest
+to the manager. Nor can a clock indicate twelve o'clock "noon." In such
+stage directions as these the director will therefore have to separate
+the purely mechanical elements from the literary and atmospheric. Let us
+now apply ourselves to the rather difficult task of making a diagram of
+the stage and its settings.
+
+It is a "fine August morning." The sun is shining out-of-doors and, as
+the room looks out over the sea, the stage must be lighted through one
+of the windows. The dramatist goes on to say that the room is "_Not the
+usual tiny London den, but the best sitting room of a furnished
+lodging._" By inference, it is a large room. The operating chair is
+"_half way between the center of the room and one of the corners_."
+Which corner is not designated. Let us try to plot out the stage on the
+assumption that we are looking at it through a window halfway down-stage
+on the left (the actor's left, of course). The window which lights the
+room is placed thus:
+
+                             [Illustration]
+
+Looking through this window, "_you will see the fireplace in the middle
+of the wall opposite you, with the door beside it to your left_":
+
+                             [Illustration]
+
+The next article of furniture mentioned is the easy chair "_on the
+hearth_":
+
+                             [Illustration]
+
+Then come "_a neat stool and bench_" and, near them, a dental drill:
+
+                             [Illustration]
+
+"_Near it_" is not definite, but for the time being, let us allow it to
+stand up-stage near the stool and bench, but a little toward Center.
+Next, you "_look away to your left, where you can see another window_."
+The direction here is not practicable, but the window may well go above
+the fireplace, instead of below, thus:
+
+                             [Illustration]
+
+Underneath this window stands a writing table and a chair:
+
+                             [Illustration]
+
+"_Next the writing table, towards the door, is a leather covered sofa._"
+To add another article of furniture to this already crowded side of the
+stage would not only make the room appear unnatural to the audience, but
+would render it impossible for the actors to move about with ease. The
+director will therefore have to use his ingenuity and judgment as to
+where to put the sofa. Some subsequent "business" may necessitate a
+change of the disposition of more than one chair or sofa or stool, but
+the process here outlined is the first step. To proceed: the sofa, then,
+must be placed somewhere else. But where? By moving the drill to the
+left, in the corner, the sofa can be placed next to the table, as
+follows:
+
+                             [Illustration]
+
+"_The opposite wall, close on your right, is occupied mostly by a
+bookcase. The operating chair is under your nose, facing you, with the
+cabinet of instruments handy to it on your left._"
+
+                             [Illustration]
+
+It is at once observed how necessary it was to move the drill from the
+other side of the room to this: over by the table, it would be out of
+convenient reach of the dentist.
+
+The difficulty of arranging the stage in this case will at once prove
+the imperative need of going through the play with the utmost attention
+to stage directions and _lines_, in order to make an accurate series of
+stage diagrams, property, light, and furniture plots.
+
+Notice that in the preliminary stage directions the center entrance is
+not designated. It soon becomes evident, however, that a center door (or
+one, at least, at the back of the stage) is taken for granted.
+
+This elementary diagram will serve as a working basis. A very little
+rehearsing will soon make it necessary to arrange the furniture, and so
+on, in a manner more pleasing to the eye and more convenient to the
+actor.
+
+                             [Illustration]
+
+There is one more kind of text with which amateurs have to do: it is the
+reprint of actual prompt-copies, and is usually accurate in material
+details. The following extract is from the opening pages of the fourth
+act of Henry Arthur Jones's "The Liars" (in the special edition
+published by Samuel French):
+
+    _Scene: Drawing-room in Sir Christopher's flat in Victoria
+    Street. L. at back is a large recess, taking up half the stage.
+    The right half is taken up by an inner room furnished as library
+    and smoking-room. Curtains dividing library from drawing-room.
+    Door up-stage, L. A table down-stage, R. The room is in great
+    confusion, with portmanteau open, clothes, etc., scattered over
+    the floor; articles which an officer going to Central Africa
+    might want are lying about._
+
+The diagram, as given in the text, is this:
+
+                             [Illustration]
+
+This is merely a skeleton, as it were, of a diagram, but first, the
+preliminary stage directions--quoted above--and the detailed and full
+marginal and other stage directions in the text, make clear every
+crossing, entrance, and exit, and designate at least the important
+articles of furniture and "props." For example, it is learned from the
+text on the first and second pages of the act, that there is a uniform
+case "up-Center"--up-stage, that is, in the center of it; a folding
+stool by the table; a trunk to the left of Center; and a sofa on the
+extreme left. Unlike the quotations from the Wilde and Shaw plays, those
+of Jones supply all necessary information to the stage manager and the
+actors. Of course, as always, modifications must be made to meet the
+exigencies of certain stages and certain actors, but these are minor
+matters.
+
+The fundamental principles of this preliminary blocking-out having been
+laid down, we shall now proceed to a consideration of the infinitely
+varied problems of grouping and detailed stage business.
+
+
+
+
+[Illustration: SET FOR MUSSET'S "WHIMS", PRODUCED BY THE
+WASHINGTON SQUARE PLAYERS.
+
+(Courtesy of The Washington Square Players).]
+
+
+
+
+                               CHAPTER V
+
+                               REHEARSING
+
+                                   II
+
+
+While it is true that the possibilities of variation in the matter of
+grouping, crossing, and so on, are infinite, still there are some
+definite principles to be followed.
+
+Suppose that the blocking-out process is over with, and the actors have
+a fair idea of their entrances, positions, business, and exits. The two
+following extracts (the first from the third act of Jones's "The Liars",
+the second from Edouard Pailleron's "The Art of Being Bored") serve to
+illustrate two ways of going about the problem of grouping actors on the
+stage. The first contains specific directions, the second only the
+merest suggestions. Below is the diagram of the stage in the third act
+of "The Liars":
+
+                             [Illustration]
+
+Up to page 107, which is reproduced on page 50, the characters are
+grouped as indicated:
+
+                             [Illustration]
+
+Following carefully the stage directions in the text and on the margin,
+the action is traced as follows:
+
+    Mrs. Crespin shakes hands with Sir Christopher. Then (marginal
+    note) "_Sir C. opens door L. for Mrs. Crespin_":
+
+                             [Illustration]
+
+    (_Exit_ MRS. CRESPIN.[5] _They all stand looking at each other,
+    nonplussed._ SIR CHRISTOPHER _slightly touching his head with
+    perplexed gesture_.)
+
+        [5] _Sir C. opens door L. for Mrs. Crespin; after her
+            exit, closes door. They all turn and look at Sir C. He
+            sinks into a chair up C., and shakes his head at them._
+
+                                 SIR C.
+
+    Our fib won't do.
+
+                                LADY R.
+
+    Freddie, you incomparable nincompoop!
+
+                                FREDDIE.
+
+    I like that! If I hadn't asked her, what would have happened?
+    George Nepean would have come in, you'd have plumped down on him
+    with your lie, and what then? Don't you think it's jolly lucky I
+    said what I did?[6]
+
+        [6] _Lady Jess. sits L.C. Sir Chris. puts hat on
+            bookcase C., and comes down C._
+
+                                 SIR C.
+
+    It's lucky in this instance. But if I am to embark any further
+    in these imaginative enterprises, I must ask you, Freddie, to
+    keep a silent tongue.
+
+                                FREDDIE.
+
+    What for?
+
+                                 SIR C.
+
+    Well, old fellow, it may be an unpalatable truth to you, but
+    you'll never make a good liar.[7]
+
+        [7] _Lady R. and Lady Jess. agree with Sir C._
+
+                                FREDDIE.
+
+    Very likely not. But if this sort of thing is going on in my
+    house, I think I ought to.
+
+                               LADY R.[8]
+
+        [8] _Crosses to him C. Freddie sits R.C. annoyed._
+
+    Oh, do subside, Freddie, do subside!
+
+                               LADY J.[9]
+
+        [9] _5th call. George._
+
+    Yes, George--and perhaps Gilbert--will be here directly. Oh,
+    will somebody tell me what to do?
+
+Then, "_after her exit, closes door_. _They all turn and look at Sir C.
+He sinks into a chair and shakes his head at them._" Into which chair
+does he sink? Since in a moment he must put his hat on the bookcase,
+Center, he had better sit on the chair to the right of it:
+
+                             [Illustration]
+
+Then, at the end of Freddie's speech, "_Lady Jess. sits L.C._ [left of
+Center]. _Sir Chris. puts hat on bookcase C., and comes down C._"
+
+                             [Illustration]
+
+The last speech of Lady Rosamund on this page is accompanied by the
+following stage direction: "_Crosses to him_ [Sir Christopher] _C.
+Freddie sits R.C. annoyed_."
+
+                             [Illustration]
+
+This is very simple, but only in the rarest instances are stage
+directions so carefully worked out and indicated. The director will
+usually be confronted by long pages where there are few or no definite
+or dependable directions. The original text of Shakespeare affords us
+only the most elementary explanations of stage "business", so that when
+Shakespeare is produced it is wisest to use one of the many stage
+editions, in which the traditional directions, or others equally good,
+are given at some length. Usually, however, the director will be aided
+by directions which are fairly full and fairly accurate, but never quite
+dependable. The following excerpt--from "The Art of Being
+Bored"--contains the ordinary sort of directions, the kind that are
+found in good plays and bad. The set is described in the first act as
+being:
+
+    "_A drawing-room, with a large entrance at the back, opening
+    upon another room. Entrances up- and down-stage. To the left,
+    between the two doors, a piano. Right, an entrance down-stage;
+    farther up, a large alcove with a glazed door leading into the
+    garden; a table, on either side of which is a chair; to the
+    right, a small table and a sofa; arm-chairs, etc._"
+
+This may be plotted in the following manner:
+
+                             [Illustration]
+
+There are no specific directions as to the position of the sofa and
+chairs, but as a large number of characters are on the stage at one
+time, a great many will be necessary. The exact number of chairs, as
+well as the positions they will have to occupy, depend largely on the
+size and shape of the stage. The above diagram will serve at first as a
+working basis. Turning to the opening of the second act, we find the
+following directions:
+
+    (_Same as Act 1._
+
+    (_Bellac, Toulonnier, Roger, Paul Raymond, Madame de Ceran,
+    Madame de Loudan, Madame Arriego, the Duchess, Suzanne, Lucy,
+    Jeanne seated in a semi-circle, listening to Saint-Reault, who
+    is finishing his lecture_).
+
+                             [Illustration]
+
+    SAINT-REAULT. And, make no mistake about it! Profound as these
+    legends may appear because of their baffling exoticism, they are
+    merely--my illustrious father wrote in 1834--elemental,
+    primitive imaginings in comparison with the transcendental
+    conceptions of Brahmin lore, gathered together in the
+    Upanishads, or indeed in the eighteen Paranas of Vyasa, the
+    compiler of the Vedda.
+
+    JEANNE (_aside to Paul_). Are you asleep?
+
+    PAUL. No, no--I hear some kind of gibberish.
+
+    SAINT-REAULT. Such, in simple terminology, is the _concretum_ of
+    the doctrine of Buddha.--And at this point I shall close my
+    remarks.
+
+    (_Murmurs. Some of the audience rise_).
+
+Here two or three--Bellac and Roger, and one of the ladies, let us
+say--rise, and chat in undertones in a small group among themselves.
+
+    SEVERAL VOICES (_weakly_). Very good! Good!
+
+    SAINT-REAULT. And now--(_He coughs_).
+
+    MADAME DE CERAN (_eagerly_). You must be tired, Saint-Reault?
+
+At this, Madame de Ceran might well rise, as if to put an end to
+Saint-Reault's speech. The others are impatient, and perhaps one or two
+start to rise. The others whisper, or appear to do so. Then Saint-Reault
+continues:
+
+    SAINT-REAULT. Not at all, Countess!
+
+    MADAME ARRIEGO. Oh, yes, you must be; rest yourself. We can wait.
+
+It is likely that here Madame Arriego would rise and go to Saint-Reault.
+Two or three others would follow her.
+
+    SEVERAL VOICES. You must rest!
+
+    MADAME DE LOUDAN. You can't always remain in the clouds. Come
+    down to earth, Baron.
+
+    SAINT-REAULT. Thank you, but--well, you see, I had already
+    finished.
+
+                          (_Everybody rises_).
+
+Saint-Reault's audience may then form into small groups, somewhat as
+follows:
+
+                             [Illustration]
+
+Care must be taken not to give the stage a crowded appearance, nor yet
+an air of too well-ordered symmetry. To continue:
+
+    SEVERAL VOICES. So interesting!--A little
+    obscure!--Excellent!--Too long!
+
+    BELLAC (_to the ladies_). Too materialistic!
+
+    PAUL (_to Jeanne_). He's bungled it.
+
+    SUSANNE (_calling_). Monsieur Bellac!
+
+    BELLAC. Mademoiselle?
+
+    SUSANNE. Come here, near me.
+
+                        (_Bellac goes to her_).
+
+    ROGER (_aside to the Duchess_). Aunt!
+
+The direction "_aside to the Duchess_" shows that (1) Roger, after the
+company rose, either went to the Duchess; or that, (2) meantime he goes
+to her. This may be done either way, so long as the two are within
+reasonable whispering distance.
+
+    DUCHESS (_aside to Roger_). She's doing it on purpose!
+
+    SAINT-REAULT (_coming to table_). One word more! (_General
+    surprise. The audience sit down in silence and consternation_).
+
+Bearing in mind the change of position of Bellac, Roger, and
+Saint-Reault, we may reseat the characters as follows:
+
+                             [Illustration]
+
+While, as has been said, grouping depends to a great extent on the size
+and shape of the stage, it should always be borne in mind that the stage
+should in most cases be made to resemble a picture as regards balance
+and composition. This means that the director must avoid crowding; that
+the actors must learn to take their places as part of that picture, and
+not attempt either to usurp the center of the stage or to disappear
+behind other actors. No grouping should ever be left to chance or the
+inspiration of the moment; every actor must have marked down in his own
+script every movement he makes. Groups and crowds require a great deal
+of rehearsing, in order that they may always assume the right position
+at the right moment.
+
+When an impression of vast numbers of people is desired--as in "Julius
+Caesar"--large numbers of "supes" are not needed. Eight or ten or twelve
+people, well managed, are sufficient to create an effect of this sort on
+a small stage, and perhaps twenty on a large. The basic principle of the
+art of the theater is suggestion, not reproduction.
+
+In the "forum scene" of Shakespeare's "Julius Caesar" there are
+practically no stage directions. The management of the mob, therefore,
+is left entirely to the director. When the Third Citizen says: "The
+noble Brutus is ascended. Silence!" we are of course given to
+understand--by the word "Silence!"--that there has been some noise and
+confusion. The text affords the most important indications.
+
+Plot out, for practice, the position of the various members of the mob
+throughout this scene.
+
+As a rule, the best impression of a crowd is made by massing and
+manipulating groups of from three to six individuals. If movement is
+demanded, it must be precise and measured out carefully during
+rehearsals. Therefore, since it is nearly always impossible to get
+trained actors to compose mobs, it is well to intersperse two or three
+"leaders" in any crowd, who will give the cue for concerted action.
+
+The foregoing discussion, both in the present and preceding chapter, has
+been made largely from the director's and the stage manager's viewpoint.
+Let us now go back to the actor, and suggest a few methods which will
+help him.
+
+An easy and vivid way of remembering "business" at first is to make a
+very simple diagram, thus:
+
+                             [Illustration]
+
+Supposing A, who stands down-stage before the sofa, crosses up-stage to
+the small table, as he says: "I'll not stand it any longer!" Just after
+this line, the actor places a mark referring him to the margin of his
+"script", and makes another diagram:
+
+                             [Illustration]
+
+This represents A crossing to up-stage, left of the small table. In this
+way, when the actor is studying his lines, he cannot help studying the
+"business", and vice versa; and since lines and "business" almost always
+go hand in hand, he will run no danger of having first learned the one
+without the other.
+
+Considerable confusion is likely to arise when an overzealous director
+insists that his actors be "letter perfect" before the "business" is
+well formulated and worked out and thoroughly learned.
+
+In the first chapter on Rehearsing, the blocking-out process was
+discussed, but the order in which each act was to be rehearsed, the time
+to be spent on it, etc.--these matters were deferred, and will now be
+taken up.
+
+At the next rehearsal--that is, after the blocking-out of the first
+act--the second is treated in the same way. And after the last act has
+been blocked out, the first should be rehearsed with greater care.
+Details of "business", grouping, the delivery of lines--especially the
+correction of errors in interpretation--must be carefully considered.
+Probably some of the "business" blocked out in the first rehearsal will
+have to be changed, or at least amplified. Entrances and exits must be
+repeatedly rehearsed until they go smoothly. The crossings and
+recrossing of one, two, or more characters, can scarcely be rehearsed
+too often.
+
+Let us take a few examples of this sort of detail work. A man comes home
+late, tired and hungry. Outside the sitting room through an open door,
+is seen the hatrack. How can this simple incident be made to appear true
+and interesting? Here is at least one manner of accomplishing it: a door
+is heard closing off-stage; footsteps resound in the hall. A, the man,
+appears, wearing a hat, overcoat, and gloves, at the Center door, looks
+into the room to see whether any one is present, seems surprised, utters
+a short exclamation, and then turns to the hatrack. His back to the
+audience, he takes off his hat, hangs it carelessly on a hook, then
+slowly draws off his gloves, allows his coat to fall from his shoulders,
+looks at himself in the glass for an instant, and then, with a sigh,
+comes into the room again.
+
+The incident, of course, is capable of a hundred variations, depending
+upon the character of the man, the circumstances under which he comes
+home, and so forth.
+
+Or, a little more complicated instance: A, B, and C, three men, are
+seated, talking after dinner. They are stationed as follows:
+
+                             [Illustration]
+
+A sits on the arm of the davenport, B on the davenport itself, and C in
+a chair at the lower right-hand side of the table.
+
+Notice first that the davenport is not placed at right angles to the
+audience; this is done so that two people, sitting side by side, may be
+better seen by the "house." Notice, too, that A is at the extreme
+left-hand corner of the davenport. Visualize this for an instant: here
+is proportion, line, and balance, but without the appearance of
+stiffness or symmetry, which should always be avoided. B rises and
+stands before the fireplace: again notice the grouping:
+
+                             [Illustration]
+
+A then rises and goes to the center of the stage, standing near the left
+of the table:
+
+                             [Illustration]
+
+This simple moving about the room should never be obtrusive; that is to
+say, the audience must never be conscious of the director's hand. First,
+every bit of "business", every move, every gesture, must be justified,
+otherwise it calls attention to itself. This is a distinct problem with
+amateurs, who naturally find it difficult not to move about when they
+have nothing else to do. They feel self-conscious unless they are
+"acting." The best rule for any amateur--although it is again the
+director who is responsible and should look after this--is, never to do
+anything unless he knows precisely why he does it, and unless he _feels_
+it.
+
+One further example: imagine a five-minute conversation, in the text of
+which there are no stage directions. It is between two women: D and E.
+They are seated, one in an arm-chair by the fire, the other in an
+ordinary chair to the right of a library table:
+
+                             [Illustration]
+
+There are not many plays in which two characters _merely_ converse for
+so long a period without well-motivated reasons, but it is well to take
+an extreme example. Let us assume that D is telling E the story of her
+life, and that for two minutes her speech contains little more than
+straight narrative. Suddenly she tells a sad incident, and E, who has a
+sympathetic nature, wipes her eyes with her handkerchief. D continues,
+and E, no longer able to restrain her tears but not wishing to show her
+emotion to D, rises and goes to the left of the stage for a moment or
+two. The long conversation scene is now broken up by a natural bit of
+action. While in life such a conversation might consume hours, on the
+stage it must be made more attractive and emotionally stimulating; in
+the theater, the appeal is through the eye and ear, to the emotions.
+
+Such a scene as the one just outlined must be repeatedly rehearsed,
+until every detail of the "business" is worked out perfectly.
+
+After approximately ten days' work on the first act--during which period
+each of the other acts should be run through at least three times--the
+actors should be letter perfect and able to give a fairly smooth
+performance.
+
+Then the other acts are rehearsed in like manner. Each act, after it is
+finished in this way, must be rehearsed at least every three or four
+days. When all the acts have been worked out, then each rehearsal is
+devoted to going through the whole play. Minor points in acting, minor
+"business", rendering of the lines, voice, gesture, etc., must naturally
+be insisted upon. Special cases must be dealt with outside the regular
+rehearsals, for the play should be interrupted as seldom as possible,
+because it is wise to let the actors become accustomed to going through
+the entire piece. It will be found expeditious, too, for small groups of
+characters who have scenes together to rehearse by themselves. The full
+rehearsals of the play are valuable both to actors and the director, for
+the latter is given a general view of his stage pictures which could in
+no other way be afforded him, and he is in a position to judge of his
+general and massed effects. At the same time the actors will more
+readily enter into the spirit of the work if they are permitted to play
+without interruption. Where the actors forget their lines, they should
+be prompted without other delay, but if they do anything actually wrong,
+or if the director wishes to make an important change, the performance
+must, of course, be stopped for a moment.
+
+The number of rehearsals necessary for the production of a play by
+amateurs depends largely on the attitude of the amateurs themselves, and
+the amount of time at their disposal. It is safe to say that ninety-nine
+out of a hundred such performances suffer noticeably from need of
+rehearsing. Nor is this to be wondered at, for the average professional
+play usually requires four or five weeks' rehearsing--seven to eight
+hours daily--for six and sometimes seven days in the week! Of course, an
+amateur is an amateur because he is not a professional, and he cannot
+afford very much time for work which is after all only a pastime. One
+other point should be well borne in mind: the average amateur has not
+the patience of the professional. If he is rehearsed too long or too
+steadily, he will grow "stale", and lose interest in his work.
+
+Still, no full-length play can safely be produced with less than four
+weeks' work, on an average of five rehearsals of three hours each, per
+week. (This does not include special and individual outside rehearsals.)
+Four weeks is the shortest time that can be allowed, while six or seven
+should be devoted to it. So much time is not necessary in order that the
+company may attempt to become professionals; that would be impossible
+and not at all advisable. The amateur, if rightly trained, should be
+able to impart a certain natural, naive, unprofessional tone to the part
+he is impersonating, but this can only be done by constant rehearsing.
+The director usually finds that the amateur's first instinct is to
+imitate the tricks of the professional actor, and not allow himself to
+_feel_ the character of the role. The professional quickly assimilates
+mannerisms which are only too likely to become mechanical, but which the
+amateur, because he is an amateur, is not likely to learn, if at first
+he is trained to avoid them.
+
+There is no particular excuse for presenting plays which can be seen
+acted anywhere and any time by professionals; amateurs should strive to
+produce classics, or modern plays which for one reason or another are
+not often seen, and impart to them that peculiar flavor which charms as
+well as interests and attracts. Nor is there much use in the amateur
+actor's striving to become professional in manner: he cannot hope, in
+the short time he can spare for his work, to become a good professional;
+or, if he gives signs of becoming such, then he no longer belongs in
+amateur dramatics. Allow the amateur plenty of leeway in the matter of
+interpretation, if he has any original ideas of his own; but of course
+these must never be at variance with the general idea of the play. Let
+him work out his own salvation: here lies the value of amateur
+production, both to the actor and to the audience.
+
+Often amateurs are called upon to portray feelings, actions, passions,
+of which they have no knowledge or experience. Love scenes, for
+instance, are invariably difficult. In this case, the actors must be
+taught a few conventional gestures, attitudes, and tricks, but they
+should not be permitted--except in rare cases--to lay much stress on the
+acting. This also applies to such purely conventional matters as
+kissing, dying, fighting, etc., for which a set of recognized technical
+tricks has been evolved. Any competent director can train actors to do
+this.
+
+One more point before this part of rehearsing is dispensed with: amateur
+productions suffer largely from a lack of continuous tension and
+variety. Often the action is slow, jerky, and consequently tedious.
+Constant rehearsing, with a view to inspiring greater confidence and
+sureness in the actors, under a good director, is the best means to
+overcome these great drawbacks. The last eight or ten rehearsals, after
+the cast are familiar with their lines and "business", are the most
+important in the matter of tempo. Details of shading, well-developed and
+modulated action, and a well-defined climax, are what must be worked
+for. When the actors are no longer thinking of when they must cross or
+sit down or rise, they are ready to enter whole-heartedly into the
+spirit of the play as an artistic unit.
+
+As an example, on a small scale, of how a scene may be modulated and
+shaded, two pages from Meilhac and Halevy's "Indian Summer" (published
+by Samuel French) are here reprinted with marginal notes explaining how
+these effects are obtained.
+
+                    {ADR. Just a moment ago I forgot that such a thing
+                    {was out of the question--
+  _Slowly_          {
+  _and_             {BRI. Why out of the question--?
+  _quietly._        {
+                    {ADR. Why, because--
+
+                    {BRI. Because what? How much did that American
+  _Slight increase_ {family pay you? I'll give you twice as much--three
+  _of_              {times as much. Whatever you want!
+  _speed and_       {
+  _tension._        {ADR. Only to read to you?
+                    {
+                    {BRI. Why, yes.
+
+                    {ADR. That wouldn't be so bad--there's just one
+                    {thing against it--it might be just a wee bit
+                    {compromising!
+                    {
+  _Slowly_          {BRI. Oh!
+  _rising_          {
+  _tension_         {ADR. Really, don't you think so? Just a bit?
+  _and speed._      {
+                    {BRI. At my age?
+                    {
+                    {ADR. (_gaily_). Oh, it's all very well--a young
+                    {person like me--alone with you. (_Seriously._) Oh,
+                    {if you only didn't live alone--!
+                    {
+  _Staccato._       {BRI. If I--? If I weren't alone?
+
+                    {ADR. If you only had some relatives--married
+                    {relatives--your nephew, for instance, with his
+                    {wife--then I might--
+
+                    {BRI. Once more, don't speak to me of--! He's the
+                    {one that brought all this trouble on us--that
+                    {letter that forces you to--that letter came from
+  _Emphasis._       {him. (ADRIENNE _makes a quick movement of
+                    {protest_.) 'Tisn't his fault, I know, but I hold
+                    {a grudge against him as if it were--
+
+  _Momentary_       {ADR. And yet, if I told you--
+  _pause._          {
+                    {BRI. (_stopping her_). Shh! If you please.
+                    {(_Pause._)
+
+                    {ADR. (_moved_). Then I must go. That was the only
+  _Diminuendo._     {way; and you don't want to do that. I'm sure I
+  _Tense,_          {don't know what will happen afterward. I still
+  _but quiet._      {hope--But for the moment, I must (_Mild access of
+                    {crying_). Oh I'm sorry--so sorry--(_Falls into
+                    {chair at side of table_).
+
+                    {BRI. (_excitedly_). Adrienne!
+  _Slight increase_ {
+  _again._          {ADR. (_recovering mastery over herself_). I beg
+                    {your pardon--there! There! (_Brushing away her
+                    {tears_).See, it's all over!
+
+                    {BRI. Adrienne!
+                    {
+                    {ADR. (_rising_). Monsieur!
+                    {
+                    {BRI. It's true, then, if there were some way, you
+                    {would--? Not the way I mentioned just now--but
+                    {another--you wouldn't leave, would you? You'd
+  _Quickly_         {stay here--near me--always--and be happy?
+  _increasing_      {
+  _rise._           {ADR. (_lightly_). Oh yes, it's too--I say it from
+                    {the bottom of my heart!
+                    {
+                    {BRI. Very well, you shan't go.
+                    {
+  _Quickly._        {ADR. I--?
+                    {
+                    {BRI. No, you shan't go.
+                    {
+                    {ADR. But--how?--Why?
+
+                    {BRI. I have found a way!
+  _Moment_          {
+  _of suspense._    {ADR. And it is?
+
+                    {BRI. To make you my wife!
+  _Climax._         {
+                    {ADR. (_Sits down again, overcome_).
+
+                    {BRI. I'll do it!--Go and speak to your Aunt--Here!
+                    {Come here! (_Enter_ NOEL, _right, carrying a
+                    {bundle of papers_). Come here! Don't be afraid! You
+                    {may go and get your wife. Bring her here! I'll
+                    {forgive her as I forgive you! (_Shakes hands warmly
+                    {with_ NOEL).
+                    {
+  _High tension_    {NOEL. Uncle!
+  _after_           {
+  _the_             {BRI. You were right--now I know it! What do I
+  _climax,_         {care if she is a watchmaker's daughter? Go and get
+  _and preparatory_ {your wife--bring her here--and we'll live together,
+  _to another_      {the four of us us--
+  _climax_          {
+  _later on._       {NOEL. All four of us?
+                    {
+                    {BRI. Yes, all four! (_To_ ADRIENNE). I am going
+                    {to speak to your Aunt--I'll be back at once.
+                    {(_Exit Center_).
+
+
+
+
+[Illustration: "SISTER BEATRICE" OF MAETERLINCK, PRODUCED AT THE
+WESTERN RESERVE COLLEGE FOR WOMEN.
+
+The simple hangings produce a good cyclorama effect. (Courtesy of Miss
+Ida Treat).]
+
+
+
+
+                               CHAPTER VI
+
+                               REHEARSING
+
+                                  III
+
+
+The dress rehearsal usually takes place on the night before the regular
+performance.
+
+Every effort must be made on this occasion to have conditions, on the
+stage and behind it, as nearly as possible like those under which the
+play is to be given. Scenery, lighting, costumes, must all be ready, and
+the performance carried through with as few interruptions as the
+director can afford to make. The director should be in the back of the
+"house", and stop the players only when they do something absolutely
+wrong. It is very unwise to change lines or "business" at this eleventh
+hour. The stage manager and his assistants must be in their assigned
+places, the lights manipulated, actors "called", the curtain rung up and
+down on schedule. The director watches the general effects, sees that
+the stage is not crowded, that the lights are in order, and above all,
+watches the tempo of the performance.
+
+The actors must be informed that on the occasion of the performance the
+audience is likely to distract them by applause, laughter, etc., and
+that they, the actors, must pause for a moment when there is any such
+interruption. A little advice as to resting, not worrying about lines,
+etc., will not be out of place.
+
+Besides the _acting_ dress rehearsal, there should be a scene and light
+rehearsal. This is merely for the assistants behind the stage. The
+different scenes (if there is more than one) should be set and "struck"
+(taken down), furniture and "props" stationed, lights worked, exactly as
+they are to be on the following night. Everything should go according to
+clockwork, the stage manager "holding the book" on all his assistants.
+
+The performance should begin on time. Every one knows the irksome delay
+usually incident to amateur performances, and it ought to be the object
+of every director to remedy a defect which is inherent in our usual
+slipshod method of reproducing plays. Promptness is the prime requisite
+of efficiency, and the production of plays is successful only when the
+component elements are organized on a sort of military basis. The actors
+must be in the theater on time, and "made-up" in costume, at least half
+an hour before the curtain rises. It is well for each actor to see the
+property man and make sure that all the "props" necessary to his part
+are in readiness. The property man himself must also check up his list
+for the last time, in order to avoid confusion during the performance.
+
+When everything is in order, there is little more to be done. The
+director might make a few general remarks to the cast, endeavor to
+inspire them with confidence and impress upon them the necessity of
+playing together harmoniously, and so on, but if his work has been well
+done during rehearsals, this will not be necessary.
+
+The prompter must follow the play line for line and be ready to prompt
+any actor who forgets his part. It is well for the stage manager to be
+near the prompter, in order that every cue for lighting, "business"
+off-stage--like ringing bells, shooting, etc.--may be acted upon as
+required.
+
+
+
+
+                             [Illustration]
+
+[Illustration: TWO VIEWS OF THE STAGE AT TUFTS COLLEGE, SHOWING PLENTY
+OF OPEN SPACE FOR THE STORING AND SHIFTING OF SCENERY.
+
+(Courtesy of L. R. Lewis).]
+
+
+
+
+                              CHAPTER VII
+
+                               THE STAGE
+
+
+A great deal more attention is being directed--in this country, at
+least--to the improvement of the physical requirements of the stage than
+heretofore. During the past few years, numerous writers[10] have made a
+systematic study of theaters abroad and at home, and revealed the fact
+that on the whole our theaters, both before and behind the curtain, are
+antiquated, ill-equipped, and fall far short of the infinite
+possibilities which have been made realized in certain cities of Germany
+and Russia.
+
+    [10] Hiram Kelly Moderwell, in his "The Theatre of To-day"
+        (Lane), and Sheldon Cheney, in his "The Modern Movement in the
+        Theatre" (Kennerley), have rendered signal service in this
+        field. The first book contains a thoroughly systematic account
+        of practically all the new theatrical experiments.
+
+Revolutionary experiments in lighting, as well as in the disposition of
+stage settings, have, during the past ten or twelve years, opened up
+fields formerly undreamed of.
+
+It is not the purpose of this chapter to describe at great length these
+innovations; the reader is referred to the books of Moderwell and Cheney
+mentioned in the footnote above. A few elementary suggestions, however,
+which may be used by skilled and intelligent amateurs, will prove
+suggestive to the average director and stage manager.
+
+It is likely that by far the greater number of amateur plays will be
+performed on a stage which is already built and equipped. In such cases,
+all the stage manager can do is to use his own scenery and at least have
+a voice in the matter of lighting. Still, many plays are performed on
+improvised stages, in private homes, clubs, or schoolrooms, or
+out-of-doors. This allows the stage manager a little more leeway, and
+often he may modify the size of the stage to suit himself, and introduce
+some innovations of his own.
+
+To those who are in a position either to build or temporarily construct
+their own stages, this chapter is primarily addressed.
+
+We shall now proceed to a consideration of a few of the more important
+innovations on the modern stage. The first of these is undoubtedly:
+
+=The Cyclorama.= This is "a white or tinted backing for the stage, built
+in the form of a segment of a vertical cylinder. It may be constructed
+of canvas or of solid plaster.... Now, if made of canvas, it is more
+usually kept, when not in use, on a vertical roller, at one side of the
+stage, near the front, and carried around behind the stage, unrolling
+from its cylinder the while, until it connects with a similar cylinder
+at the opposite side of the stage. It hangs from a circular iron rail,
+and almost completely encloses the stage, rising to the required
+distance.... It can be rolled up on its original cylinder when it is not
+needed, leaving the stage once more approachable from all sides.... The
+chief uses of the cyclorama are evident. It presents a continuous dead
+white or tinted background, which, when played upon by the proper
+lights, gives a striking illusion of depth and luminous atmosphere....
+But perhaps the chief value of the cyclorama, from the standpoint of the
+stage artist, has not yet been mentioned. For the new device changes
+altogether the problem of lighting. Ordinary sunlight is, as we know,
+not a direct light, but an infinitely reflected light, bandied about by
+the particles of air and by the ordinary physical objects on which it
+strikes. The mellowness and internal luminosity of ordinary sunlight is
+wholly due to this infinite reflection. It was the lack of this that
+made the old stage lighting, with its blazing direct artificial glare,
+so unreal. The cyclorama, and especially the dome cyclorama, permits the
+stage to be lighted largely or wholly by crisscrossing reflection. The
+mellow and subtle lighting which makes it possible was altogether
+unknown under the older methods."[11]
+
+    [11] Moderwell's "The Theatre of To-day." John Lane Company.
+
+The construction of a cyclorama, either of cloth or of plaster, is
+rather difficult, but there are certain simple substitutes which may be
+used to secure some of its elementary effects. The following system has
+been used by some amateurs with signal success.
+
+First take a wooden rod, or better, iron pipes, curved to the desired
+shape.
+
+Fasten this framework either to the ceiling of the "loft" or, if that is
+too high, to the wings. On the rod hang curtains of burlap, or some
+similar material, or else two or three thicknesses of cheesecloth, so
+that they fall in simple folds. The color will depend on the sort of
+play to be produced and the kind of lights used. As a rule, dark tan,
+green, or dark red are the best colors, and can be used on many
+occasions and for nearly every sort of play. Whether the "cyclorama"
+thus improvised be permanent or temporary, this is one of the best
+possible backgrounds. In out-of-door scenes, it gives a suggestion of
+distance.
+
+                             [Illustration]
+
+In Constance D'Arcy Mackay's book on "Costumes and Scenery for Amateurs"
+the author describes how a "desert and oasis" scene can be made from the
+simplest means:
+
+    "A plain sand-colored floor cloth. A backdrop or cyclorama of
+    sky-blue against which very low sand mounds appearing as if at
+    great distance, with palm trees, also made small by distance.
+    These mounds and palm trees should be painted low on the
+    backdrop, since a vast stretch of level sand is what is to be
+    suggested. It would even be possible to use a plain blue sky
+    drop, and run some sand-colored cambric into mounds across the
+    back of the stage, so as to break the sky line."
+
+It is not necessary, though, to _paint_ the cyclorama: darker cloth,
+made to represent mounds, thrown across the lower part of the cyclorama,
+would be equally effective. Further examples of what can be done with
+the cyclorama will be cited in the chapter on "Lighting."
+
+Another of the recent innovations which is of particular value to
+amateurs is the system by which the proscenium opening can be made large
+or small, according to the demands of the play. Usually the proscenium
+looks like the following diagram.
+
+[Illustration: AN ORDINARY BOX-SET. FROM DUMAS _FILS'_ "THE MONEY
+QUESTION", PRODUCED AT TUFTS COLLEGE.
+
+(Courtesy of L. R. Lewis).]
+
+Suppose one scene of a play calls for a large courtroom filled with
+people. Obviously, all the stage space is required. But suppose that the
+next scene is a small antechamber. On the average stage the discrepancy
+is at once observed, and the effect is more than likely ridiculous. Even
+if the sets used are "box sets" (that is, with three walls and not mere
+conventional screens or curtains), the effect of great size can easily
+be obtained in the first scene, and smallness in the second, by means of
+the device about to be described. This applies, of course, to plays
+where the same set must be used for both scenes. If, however, a
+different set is used for the antechamber scene, the new device is
+imperative.
+
+                             [Illustration]
+
+First, construct two tall screens (on a wooden framework), made either
+of painted canvas or draped cloth, of some dark and subdued tone, and
+place them on each side of the stage, just behind the proscenium arch,
+as in the diagram:
+
+                             [Illustration]
+
+These screens can be easily set closer to the center of the stage,
+thereby diminishing its size on the sides. Then the "grand drapery"
+above, which hangs down from behind the top of the proscenium arch, and
+which should be of the same color and material as the side screens, is
+lowered. This process makes, from the inside, a smaller proscenium arch.
+Many of the German and some other stages have added a fourth side to
+this frame, by "boxing" the footlights:
+
+                             [Illustration]
+
+This last, besides giving the effect of a detached picture to the set,
+prevents the direct rays of the footlights, when they are used, from
+shining up into the gallery.
+
+To return to the smaller scene made by the inner proscenium arch, it
+will readily be seen that the cyclorama--if there is one--or back wall
+of the set, or else the curtain, must usually be brought forward a
+little. The advantage of the inner proscenium becomes apparent when such
+a play as "The Merchant of Venice" is performed, and the absurdity of
+using a stage of the same size for the Portia-Nerissa scene in the first
+act and the casket scene, is forcibly brought to our attention.
+
+=The Revolving Stage= and =The Wagon Stage=. These are fully described
+in the books which have been referred to. They are both extremely
+valuable, but as yet too complicated and expensive to be seriously
+considered for amateurs.
+
+The introduction of simpler scenery and simpler lighting does away with
+much that was difficult to manage under the old system, and a few
+well-trained amateurs should be able to set and attend to almost any
+production without having recourse to the revolving stage and the
+"wagons."
+
+As much space as possible should be kept clear behind the curtain;
+occasions are likely to arise when the entire stage may be used, and
+manipulation of scenery on a full stage is a difficult task.
+
+A few suggestions as to lighting and its relation to scenery and color
+and action will be set forth in the next chapter.
+
+
+
+
+                              CHAPTER VIII
+
+                                LIGHTING
+
+
+It has been rightly urged that recent inventions and discoveries in
+lighting constitute the greatest contribution to the modern art of the
+theater. This manual is intended primarily to help the producer and the
+actor, but the present short chapter may assist the former or his
+associates in their effort to improve the physical conditions of the
+stage.
+
+The prevalent system of using footlights and border lights is on the
+whole bad, because it is false, unnatural, and above all unnecessary.
+Says Moderwell (pages 107-108, in "The Theatre of To-day"):
+
+    "Before we can begin work in artistic lighting we must do some
+    destroying. One element in the old lighting must go, and go
+    completely. We can say this with careless ease now that the
+    Fortuny system has given us a better way. But even before this
+    invention was made known, the case against the footlights must
+    have been obvious to any sensitive man of the theatre; that the
+    'foots' continued as long as they did indicates the stagnation
+    of the old theatre in all but purely literary art.
+
+    [Illustration: From "The Architectural Review."
+    OPERATION OF THE FORTUNY INDIRECT LIGHTING SYSTEM.]
+
+    "The footlights, with their corresponding border lights from
+    above, give a flat illumination. They make figures visible, but
+    not living; they destroy that most precious quality of the
+    sculptor, relief.... It is the shadows, the nooks and crannies
+    of light and shade, that show a figure to be solid and plastic."
+
+The Fortuny system mentioned is a device by which light is reflected and
+diffused: "An arc-lamp and several pieces of cloth of various
+colours--these comprise the Fortuny apparatus in its simplest form."
+While only an expert electrician and, if the effects are to be artistic,
+an artist, can erect and manipulate a system built on Fortuny's
+principles, still amateur electricians and directors should do their
+best, by means of experimentation, to use indirect lighting.
+
+Just how this can be done must rest with individuals, but two or three
+experiments may be briefly described.
+
+Suppose that the cyclorama, or the hangings masking the back of the
+stage, are made of white or light-colored cloth. In this case, an arc
+lamp or ordinary calcium light can be placed up in the loft, above the
+top of the cyclorama, and behind it. A little experimenting will reveal
+many striking light effects. If one light or lamp is not sufficient,
+others can be placed in various positions to reenforce it. As conditions
+vary so greatly, it is impossible to supply more concise directions.
+
+Where box sets are used in which there is at least one window, and
+provided the scene does not take place at night, it is much better to
+have all, or at least an appreciable portion of the light come in
+through one window. In the second act of Charles Klein's "The Music
+Master" played by David Warfield and produced by David Belasco, the
+stage was at one time brilliantly lighted, supposedly by sunshine from
+the outside, from the two opposite sides of the stage! If, however,
+screens and curtains are used (see chapter on "Scenery and Costumes"),
+then it is best to introduce some sort of central reflected light. To
+station lights on all sides of the stage will first of all make the
+stage too bright, and furthermore produce unnatural and distorted
+shadows: there is no chance for effects of relief or any illusion of
+plasticity. If possible, the footlights should be entirely eliminated;
+if not, then most sparingly used. Our stages are for the most part
+overlighted.
+
+The production of Lady Gregory's "The Rising of the Moon" by the Irish
+Players was one of the simplest and at the same time most effective of
+stage pictures. The following diagram will show in a rough way the
+general disposition of the settings:
+
+                             [Illustration]
+
+The back of the stage (the shaded area) was flooded with white light to
+suggest moonlight. There were no "foots" or "borders"; anything besides
+the single light would have ruined the effect of perfect placidity.
+
+
+
+
+                               CHAPTER IX
+
+                          SCENERY AND COSTUMES
+
+
+Very little need be said regarding the usual conventional sets, whether
+they represent interiors or exteriors. The purpose of this chapter is
+(1) to suggest simple but effective means of staging without using the
+conventional sets, and (2) to lay down a few principles as to costuming.
+
+By means of the simple devices about to be described, the amateur is
+enabled to do without "box sets" and all the paraphernalia of the old
+stage. The tendency nowadays is away from naturalism in setting; the aim
+is rather to supply simple but beautiful backgrounds with as little
+obvious effort as possible; to suggest rather than to represent. When
+the word "conventional" is used it is intended to convey the meaning not
+of "old" and "hackneyed", but of "simple", "suggestive." Beardsley's
+drawings are conventional because attitudes and lines are
+conventionalized.
+
+In the main, there are three sorts of setting which may be used for
+practically all kinds of plays. They have been successfully tried out on
+numerous occasions, and few plays have been found which cannot fit at
+least one of them.
+
+1. The first and simplest of them all consists of draperies and tall
+screens. The Greek classics and Shakespeare are particularly effective
+with this sort of background. Where Greek plays are given, a peristyle
+of wooden pillars up-stage, behind which may be hung white or tinted
+curtains, is especially desirable. Any Greek, and most Latin plays, can
+be produced with this setting. Often such plays are given in the open.
+If the performance takes place in the daylight, there is no difficulty
+as to artificial lighting; but if it is at night, then a flood-light
+must cover the stage. This is placed toward the back, or else behind the
+audience.
+
+Shakespeare is seen at his best with the simple background. A sort of
+cyclorama may be constructed by using curtains hung at the back of the
+stage, upon which is thrown light from one place: behind the proscenium
+arch, from above, or from one of the sides. Suppose that "The Comedy of
+Errors" is the play to be performed. The first scene of the first act is
+"_A hall in the Duke's palace_." This, of course, should be printed on
+the program, but on the stage all that is needed is a suggestion or two,
+like a gilded chair, and a painted white bench or two. These are not
+needed in the action, but they serve to create an atmosphere. The second
+scene is "_A public place_." Absolutely no "props" or furniture are
+needed; indeed, their very absence indicates the "place." The first
+scene of the second act is the same. The curtains around the stage must
+be made in sections, in order to allow the actors to enter and exit
+through them. The lines are always sufficient to indicate where a person
+is coming from or going to. In the first scene of the third act, Dromio
+of Syracuse says:
+
+    DRO. S. (_within_). Mome, malt-horse, capon, coxcomb, idiot, patch!
+    Either get thee from the door, or sit down at the hatch:
+    Dost thou conjure for wenches, that thou call'st for such store,
+    When one is one too many? Go, get thee from the door.
+
+A house is evidently intended to be represented, but it is not necessary
+that we see it: Dromio of Syracuse can speak from behind the curtain.
+The convention will readily be accepted. Nor is it necessary to
+differentiate the various "public places", except for the sake of
+variety: perhaps a bench or two now and then will accomplish this
+purpose. And when, in the first scene of the fifth act, the public place
+is "_before an abbey_", still there is no need of any definite set
+pieces. From time to time, doubtless some special article of furniture
+or set piece of some kind will be mentioned in the text, not elsewhere,
+in which case it can easily be supplied.
+
+This "Shakespeare-without-scenery" is not the only method by which
+Shakespeare can be performed, but it is the easiest and, if done with
+taste, the most effective.
+
+Let us now take rather a more difficult play, "Twelfth Night." The first
+scene of the first act is "_An apartment in the Duke's palace_." The
+Duke sits on a sort of throne or sofa. In Max Reinhardt's production of
+this play at the Deutsches Theater in Berlin, the set consisted simply
+of a semicircular lounge extending all the way across the stage. It was
+covered with dark blue plush; the hangings were of the same color. A
+warm yellow light directed from above flooded the stage.
+
+Either a throne or sofa for the Duke, then, and a few other chairs for
+the remaining characters, who sit down--the musicians stand--or else,
+following Reinhardt, a semicircular lounge. This is all. The second
+scene is "_The seacoast_." The stage is bare here. The third scene is
+"_A room in Olivia's house_." Different chairs or sofas and a throne for
+Olivia. The following scene is the same as scene one. The first scene of
+the second act is the seacoast once more. The next is "_A street_." No
+furniture. The third scene is "_A room in Olivia's house_"; evidently
+not the same as that in which Olivia first appeared. The room is
+probably in or near the wine cellar. A table, therefore, and three or
+four chairs, will not be amiss. The next is the same as in act one,
+scene one. The fifth scene of the second act is "_Olivia's garden_."
+Here the stage business requires a few definitely placed shrubs and a
+bench or two. The best arrangement of this scene is suggested in the
+diagram:
+
+                             [Illustration]
+
+Malvolio comes down-stage Center, while the others are hiding behind one
+of the benches, either Left or Right. These benches, as indicated in the
+diagram, are partially concealed by shrubs. Baytrees, planted in
+green-painted tubs, make especially good decorations. They can be used
+on many occasions, as will be shown later. Nor, in the case of the scene
+from "Twelfth Night", are they so high as to conceal the actors who are
+supposed to be hidden behind them. The following scene is the same. The
+second scene of the third act is the cellar room again. Following this
+is "_A street_"; then "_Olivia's garden_" once more. The next new scene
+is the first of the fourth act: "_A street before Olivia's garden_."
+Perhaps a little variety can be introduced in the shape of a shrub or
+two. The remaining scenes are repetitions of those already considered.
+
+The suggestions above given are extremely summary, but, if acted upon,
+will be seen to prove sufficient.
+
+2. Out-of-door scenes of a more elaborate character, in plays like
+Rostand's "The Romancers", often require more complicated sets; they may
+still be produced with the most elementary sort of background, however.
+The stage directions of this play are as follows:
+
+    SCENE: _The stage is divided by an old wall, covered with vines
+    and flowers._ _At the right, a corner of_ =BERGAMIN'S= _park is
+    seen; at the left, a corner of_ PASQUINOT'S. _On each side of
+    the wall, and against it, is a rustic bench._
+
+This is set in the following manner:
+
+                             [Illustration]
+
+The background hangings may be of tan burlap or else dark green. Gaps,
+covered by the folds, must be made up- and down-stage to allow the
+actors to enter and leave the stage. The wall must be constructed of
+solid wood, in order to support the actors, and painted to suggest
+bricks. There is a rustic bench against each side of the wall. Though
+they are not mentioned in these preliminary directions, there are other
+rustic benches, down-stage to the extreme right and left. These are used
+later in the act.
+
+In the second act, "_the wall has disappeared_. _The benches which were
+formerly against it, are removed to the extreme right and left._ [The
+extra benches mentioned in the first act have of course been removed.]
+_There are a few extra pots of flowers and two or three plaster statues.
+To the right is a small garden table, with chairs about it._" This scene
+is set as follows:
+
+                             [Illustration]
+
+The third act stage directions are: "_The scene is the same except that
+the wall is being rebuilt. Bricks and sacks of plaster lie about_." A
+few bricks may serve to indicate the partly finished wall.
+
+Since the scene of this play is laid at first in parks, there ought to
+be some suggestion as to this fact. Here bay- or box-trees can be used.
+Perhaps three or four should be arranged more or less symmetrically at
+the back of the stage, and as many to the right and left, down-stage.
+One or two can be added, close to the wall. This is all that is
+absolutely necessary.
+
+The foregoing remarks have been applied largely to romantic plays, but
+what is to be done in modern realistic pieces? There are two courses
+open, besides the conventional one (using box sets):
+
+The first method is to use the regular hangings as before and set a few
+needful articles of furniture about the stage. This is not realistic,
+but there are many realistic plays which can be produced without
+correspondingly realistic settings. Of course, where windows are
+referred to and used, there must be real windows, and where a character
+is directed to hang a picture on a wall, there must be a wall. However,
+there are many realistic plays where box sets are not required. Hermann
+Sudermann's "The Far-away Princess" is a case in question. The author
+has definitely suggested a certain setting for the play, but as his
+suggestions are not absolutely essential they may be modified. The
+directions are:
+
+    "_The veranda of an inn. The right side of the stage and half of
+    the background represent a framework of glass enclosing the
+    veranda. The left side and the other half of the background
+    represent the stone walls of the house. To the_ _left, in the
+    foreground, a door; another door in the background, at the left.
+    On the left, back, a buffet and serving table. Neat little
+    tables and small iron chairs for visitors are placed about the
+    veranda. On the right, in the centre, a large telescope,
+    standing on a tripod, is directed through an open window._ ROSA,
+    _dressed in the costume of the country, is arranging flowers on
+    the small tables_. FRAU LINDEMANN, _a handsome, stoutish woman
+    in the thirties, hurries in excitedly from the left_."
+
+If the dramatist's stage directions are implicitly followed, a realistic
+set will be required. The scene as set according to the diagram, has,
+however, often been used:
+
+                             [Illustration]
+
+Once more, the little shrubs may be used in order to give an atmosphere
+of outdoors.
+
+Or, to take an example of a "modern-interior" play in which the same
+conventionalized scenery may be used to advantage--Alfred Capus'
+"Brignol and his Daughter" (published by French) is set as follows:
+
+    SCENE: _An office, fitted up with various articles of parlor
+    furniture--rather pretentious in appearance. To the right, a
+    table with letter-files, and a safe; beside the safe, a
+    bookshelf. At the back is the main entrance; there are other
+    doors, right and left, one opening upon a bed-room, the other
+    upon the parlor._
+
+Here the setting is so usual, so conventional, that no _actual_ room is
+required: merely the table, chairs, safe, etc., as called for. Of
+course, it is not imperative that such plays should be set in this
+manner: the arrangement with screens about to be described is usually
+the best way. The point here to be impressed is that realistic sets are
+not always required for realistic plays.
+
+3. By the introduction of screens--not to be confused with the large
+screens mentioned by Gordon Craig, however--practically any realistic
+play can be produced. The diagram below will afford some idea of the
+very simple principle:
+
+                             [Illustration]
+
+Three screens, about seven feet high, made in three sections, and
+covered with burlap or some similar material, are all that will usually
+be required on a moderately small stage. These can be set in various
+ways. If an ordinary room is called for, they may be set as in the above
+diagram.
+
+"Brignol and his Daughter" may be staged by using three screens (as in
+the diagram above): the opening at the back is the center door; the
+doors on the right and left are the openings left between the lower ends
+of the side screens and the inside of the proscenium arch. The furniture
+is set in this scene as it is required in the stage directions. If the
+proscenium opening is too large, then the grand drapery can be lowered
+to within two or three feet of the top of the screens, and the side
+screens, behind the sides of the proscenium arch, brought closer
+together. Behind the screens representing the room, burlap or a suitable
+substitute may be hung. To take concrete examples once more, the setting
+of the first act of "A Scrap of Paper" (the adaptation by J. Palgrave
+Simpson) is thus described in the text:
+
+    _Drawing-room in a French country house. Windows to the floor,
+    R.C._ [Right Center] _and L.C._ [Left Center], _at back, looking
+    out on gardens and park. The window L.C. is at first closed in
+    with barred Venetian shutters. The window R.C. opens on the
+    garden. Fireplace, C._ [Center] _between the windows, surmounted
+    by a mirror. On each side of the mirror is a bracket, within
+    reach of the hand; the one R. supporting a statuette of_ FLORA,
+    _the other, L., empty. Doors, R. 2 E_ [See diagram] _and L. 2 E.
+    Sofas R. and L. up-stage. At C. of stage is a round table, with
+    a lamp, and an embroidery frame, a book and other objects
+    scattered upon it in great disorder. Chairs R. and L. of table.
+    Arm chairs R.C. and L.C., downstage. The furniture is to be rich
+    but old-fashioned, and a little worn. Carpet down._
+
+Five screens are here required: one at the back, behind the fireplace;
+and two on each side of the stage. Only two of the three folding
+sections of each are used.
+
+                             [Illustration]
+
+The fireplace must be "practical"--that is, it must have a wooden
+framework. In case a mirror is desired, it can be lower than a mirror
+usually is, and made of mosquito netting, to avoid reflections. A very
+few pictures may be hung on the screens. The hangings at the back of the
+stage--masking the bare walls--are of the same sort as have been
+described before, but the color of the screens must harmonize with them.
+
+With such a background, and by means of screens, shrubs, and a few
+necessary set pieces, like the wall in the Rostand play, the author has
+seen a dozen widely different plays produced by amateurs, in not one of
+which was the slightest noticeable discrepancy or anything that would
+shock even the theatergoer who is accustomed to the elaborate and often
+unnecessary settings of David Belasco.
+
+As may be easily imagined, the possibilities of variation upon these
+simple settings are infinite. Experimentation, as always, will reveal
+new fields.
+
+                               * * * * *
+
+Before closing the chapter, a word may be said of the flat background
+near the curtain line. About four or five feet behind the curtain
+line--_i.e._ the place where the curtain falls to the stage--hang a
+drop, either of burlap, or else a white drop like that used in
+stereopticon lectures. This, either played upon by lights in "the
+house", or from behind the stage, forms a striking background for scenes
+of pantomime, a street--as in "Twelfth Night"--a wall, a forest, almost
+anything. Such a screen was most effectively used in one scene of
+Reinhardt's production of "Sumurun." A still more striking effect was
+achieved in a performance of "Peer Gynt" at the Lessing Theater in
+Berlin. The scene was the one in which Peer Gynt is before the pyramid
+in Egypt. About five feet behind the curtain line a white screen was
+dropped. Diagonally across this screen was thrown a dark purple light,
+while over the remaining space a saffron yellow played. That was all,
+but the suggestion of the vast shadow of the pyramid and the yellow
+sunlight and the yellow sands of Egypt was far more impressive than any
+_representation_ of the pyramid and desert could be.
+
+In case the effect of a distant city is desired, then another (darker
+and thicker) cloth, cut to represent the outlines of buildings and the
+like, can be sewed against the drop, thus producing the effect of a
+silhouette.
+
+In fine, the whole problem of staging resolves itself into this: achieve
+your effects in as simple a way as possible; suggest, do not try to
+represent; scenery, which ought indeed to be a delight to the eye, is
+after all only background. Experiment, but never hesitate to ask the
+advice of those who know the basic principles of color, line, and form,
+as well as those who have technical knowledge of every branch of the art
+and craft of the theater.
+
+=Costumes.= In his introductory remarks to "The Romancers", Rostand says
+that the action may take place anywhere, "provided the costumes are
+pretty." This is the basis of the few brief remarks to be made here on
+the subject of costumes. It must not be concluded, however, that any
+costumes may be used on any occasion. A modern play must have modern
+costumes--except in such plays as "The Blue Bird" and "Chantecler"--and
+a "period play" must at least approximate in spirit the age in which the
+action transpires. But it makes little difference whether Hamlet wears a
+tenth or eleventh century Danish costume, or one of the age of
+Elizabeth. It is a well-known fact that in Shakespeare's days there was
+little or no regard for historical accuracy in costumes, and that even
+in the historical plays the actors wore contemporary clothes. The point
+to be impressed is not that we should play "Julius Caesar" in dress
+clothes, but that such discrepancies as were allowed in Elizabethan days
+could not have made very much difference, and that nowadays it is not
+worth while to spend too much time over details. In Greek plays it is
+well to use Greek costumes, because we have long been accustomed to
+associate some sort of archeological detail with plays of a certain age;
+and besides, Greek costumes are beautiful. But, and this is of great
+importance, do not strive to be historically exact: so long as costumes
+are beautiful and harmonize with the setting, and so long as they are
+not absurd or too much out of harmony with the play, they are good.
+There are numerous exceptions. Where a play definitely calls for a
+distinct atmospheric setting--like Bennett and Knoblauch's
+"Milestones"--then the utmost effort must be made to obtain correct
+costumes and setting. But the reason why the first act of this play
+requires historical accuracy is that the audience knows very well what
+mid-Victorian clothes are like. If the play were given in the year 2500
+A.D., it is safe to say that Elizabethan or Queen Anne costumes might do
+just as well.
+
+However, historical accuracy, when it can be obtained as easily as not,
+is never superfluous.
+
+
+
+
+                             [Illustration]
+
+[Illustration: TWO VIEWS OF THE STAGE AT THE UNIVERSITY OF
+NORTH DAKOTA.
+
+(Courtesy of Frederick H. Koch).]
+
+
+
+
+                               CHAPTER X
+
+                    SELECTIVE LISTS OF AMATEUR PLAYS
+
+
+The following lists, which do not pretend to completeness, will at least
+be found helpful in assisting amateur organizations to choose
+"worth-while" plays. The general headings "Classic", etc, are clear, but
+the following explanations must be made regarding the other markings:
+
+An asterisk (*) indicates that the play is in one act. Those not so
+marked are in more than one act, and are in most cases "full length."
+
+The letter "S" denotes serious or tragic plays, intended in nearly every
+case for advanced amateurs.
+
+The letter "R" denotes plays of a romantic and poetic nature.
+
+The letter "C" denotes comedies, farces, and plays in lighter vein.
+
+The letter "F" in parenthesis after the title indicates that a fee is
+charged for production by amateurs. The publisher or agent (see
+footnotes), must be consulted for particulars.
+
+The letter "D" denotes modern dialect plays, like those of Lady Gregory.
+Most of these plays are included under the general heading of "Classic"
+because the costumes and setting, though they may be modern, are not the
+familiar modern costumes and settings.
+
+All plays not included in the first division "_Classics, including
+modern costume and historical plays_" are to be found in the second
+division: "_Modern plays._"
+
+It is nearly always unwise for an amateur organization to take a play on
+faith; it is therefore advisable for it to collect a library of amateur
+plays, from which successive generations of members can at least form
+some judgment of the field from which they are to select their plays.
+
+This list makes no pretence to completeness. It has been the writer's
+purpose merely to mention a number of classic and standard plays which
+amateurs can produce without too great difficulty.
+
+
+                             [Illustration]
+
+[Illustration: SCENES FROM EURIPIDES' "ELECTRA". PRODUCED AT ILLINOIS
+STATE COLLEGE.
+
+(Courtesy of Rollin H. Tanner).]
+
+
+        CLASSICS, INCLUDING MODERN COSTUME AND HISTORICAL PLAYS
+
+
+Greek
+
+    RS  Euripides, _Alcestis_ (Samuel French; Walter H. Baker)
+
+    RS  Sophocles, _Antigone_ (Samuel French; E. P. Dutton, in
+            Everyman's Library)
+
+    RC  Aristophanes, _The Clouds_ (Macmillan; "The Drama", Victorian
+            edition)
+
+    C   _Lysistrata_ (Samuel French. Another version, by Laurence
+            Housman, published by The Woman's Press, London)
+
+
+Latin
+
+    C   Plautus, _The Twins_ (Samuel French)
+
+    C   Terence, _Phormio_ (Samuel French)
+
+
+Spanish
+
+    RC  Lope de Vega, _The Dog in the Manger_ ("The Drama",
+        Victorian edition)
+
+    RC  Calderon, _Keep Your Own Secret_ (Macmillan)
+
+    RC  Benavente, _The Bonds of Interest_ (in "The Drama", No. 20)
+
+
+Italian
+
+    RC  Goldoni, _The Fan_ (Yale Dramatic Association)
+
+    RC      _The Beneficent Bear_ (Samuel French)
+
+    RC      _A Curious Mishap_ (McClurg)
+
+    RCD     _The Squabbles of Chioggia_ ("The Drama", August, 1914)
+
+    R*  Giacosa, _The Wager_ (Samuel French)
+
+
+French
+
+    C   Brueys (adaptor of 15th century anonymous), _Master
+            Patelin, Solicitor_ (Samuel French)
+
+    C   Moliere, _The Merchant Gentleman [Le Bourgeois
+            Gentilhomme]_ (Samuel French; Little, Brown; Bohn Library,
+            etc.)
+
+    C*      _The Affected Young Ladies [Les Precieuses ridicules]_
+
+    C       _The Sicilian_
+
+    C*      _Doctor Love [L'Amour Medecin]_
+
+    C*      _The Doctor in Spite of Himself [Le Medecin malgre lui]_
+
+    C       _The Imaginary Invalid [Le Malade imaginaire]_ (Samuel
+            French; Little, Brown; Bohn Library; Putnam, etc., publish
+            the above five titles)
+
+    C*  Dancourt, _Woman's Craze for Titles_ (in "The Drama";
+            Historical Publishing Company, 1903, vol. viii.)
+
+    C*  Le Sage, _Crispin, His Master's Rival_ (Samuel French)
+
+    CR* Marivaux, _The Legacy_ (Samuel French)
+
+    CR  De Musset, _Fantasio_ (Dramatic Publishing Company)
+
+    CR*     _The Green Coat_ (Samuel French)
+
+    C   Augier, _M. Poirier's Son-in-law [Le Gendre de M.
+        Poirier]_ (in "Four Plays by Emile Augier", published by
+        Alfred A. Knopf, and in "Chief European Dramatists",
+        published by Houghton Mifflin)
+
+    CR* Banville, _Gringoire_ (Dramatic Publishing Company;
+        Samuel French)
+
+    CR*    _Charming Leandre_ (Samuel French)
+
+    C   Sardou, _A Scrap of Paper_ [_Les Pattes de mouche_]
+        (Samuel French)
+
+    CR      _The Black Pearl_ (Samuel French)
+
+    CR* Feuillet, _The Fairy_ (Samuel French)
+
+    CR* Rivoire, _The Little Shepherdess_ (Samuel French)
+
+    CR  Rostand, _The Romancers_ (Samuel French; Walter H.
+        Baker; Heinemann)
+
+    C*  France, _The Man Who Married a Dumb Wife_ (Lane) (F)
+
+    C*  Picard, _The Rebound_ (Samuel French)
+
+    CR  Zamacois, _The Jesters_ (Brentano) (F)
+
+    SR* Bouchor, _A Christmas Tale_ (Samuel French)
+
+    CR* Coppee, _The Violin-Maker of Cremona_ (Samuel French)
+
+    SR*      _Pater Noster_ (Samuel French)
+
+    SR* Theuriet, _Jean-Marie_ (Samuel French)
+
+
+Danish
+
+    C   Holberg, _The Loquacious Barber_ ("The Drama", Victorian
+        edition)
+
+    C       _Captain Bombastes Thunderton_ (in "Three Comedies by
+            Ludvig Holberg", published by Longmans) (Requires cutting)
+
+    CR  Hertz, _King Rene's Daughter_ (Samuel French)
+
+
+German
+
+    CR  Lessing, _Minna von Barnhelm_ (in Bohn Library,
+        Macmillan)
+
+    C   _The Scholar_ (in Bohn Library)
+
+    C   Schiller, _Nephew or Uncle_ (Walter H. Baker)
+
+
+English
+
+    S   Anonymous,  _Everyman_  (Everyman's Library; Dutton)
+
+    R   Lyly, _Alexander and Campaspe_ (Scribner, and in
+        Everyman's Library) (Requires cutting)
+
+    R   Greene, _Friar Bacon and Friar Bungay_ (Dutton) (Requires
+        cutting)
+
+    CR  Beaumont and Fletcher, _The Knight of the Burning Pestle_
+        (Scribner; Everyman's Library; etc.) (Requires cutting)
+
+    CR  Dekker, _Old Fortunatus_ (Scribner) (Requires cutting)
+
+    CR _The Shoemaker's Holiday_ (Scribner; Dutton) (Requires
+        cutting)
+
+    CR  Heywood _The Fair Maid of the West_ (Scribner) (Requires
+        cutting)
+
+    SR  Jonson, _The Sad Shepherd_ (Dutton) (Requires cutting)
+
+    CR  _The Case is Altered_ (in any complete set of Ben Jonson)
+        (Requires cutting)
+
+        Shakespeare (no plays need be mentioned. The "Ben Greet
+        Shakespeare for Amateurs" contains good directions for
+        staging and acting)
+
+    C   Udall, _Ralph Roister Doister_ (Macmillan; Dent) (Requires
+        cutting)
+
+    CR  Goldsmith, _The Good-natured Man_ (in any edition of
+        Goldsmith's plays)
+
+    CR  _She Stoops to Conquer_ (in any edition of Goldsmith's
+        plays)
+
+    CR  Sheridan, _The Rivals_ (in any edition of Sheridan's
+        plays)
+
+    C   _The School for Scandal_ (in any edition of Sheridan's
+        plays)
+
+    C   _The Critic_ (in any edition of Sheridan's plays)
+
+    CR  Pinero, _Trelawney of the 'Wells'_ (Dramatic Publishing
+    Company) (F)[12]
+
+        [12] Apply to Sanger & Jordan, 1432 Broadway, New York, for
+            acting rights.
+
+    CR  Housman, _A Chinese Lantern_ (Dramatic Publishing
+        Company) (F)
+
+    CR*     _Bird in Hand_ (Samuel French) (F)
+
+    SRD*    _A Likely Story_ (Samuel French) (F)
+
+    CR*     _As Good as Gold_ (Samuel French) (F)
+
+    SRD*    _The Snow Man_ (Samuel French) (F)
+
+    SR*     _Nazareth_ (Samuel French) (F)
+
+    SR*     _The Lord of the Harvest_ (Samuel French) (F)
+
+    SR*     _The Return of Alcestis_ (Samuel French) (F)
+
+    CR      (and Barker), _Prunella_ (Little, Brown) (F)
+
+    CR  Shaw, _The Devil's Disciple_ (Brentano) (F)[13]
+
+    CR  Parker, _Pomander Walk_ (Samuel French) (F)
+
+    CR* Barrie, _Pantaloon_ (Scribner) (F)[13]
+
+        [13] Apply to American Play Company, 33 West 42nd St., New
+            York.
+
+    CR  Bennett and Knoblauch, _Milestones_ (Doran) (F)
+
+    CR  Noyes, _Sherwood_ (Stokes) (F)
+
+    CR  Tennyson, _The Princess_ (in any complete edition of
+    Tennyson)
+
+    CR      _The Foresters_ (in any complete edition of
+            Tennyson)
+
+    SR*     _The Falcon_ (in any complete edition of Tennyson)
+
+    R*  Lord Dunsany, _The Gods of the Mountain_ (Little, Brown)
+        (F)
+
+    CR*     _The Lost Silk Hat_ (Little, Brown) (F)
+
+    CRD*    _The Glittering Gate_ (Little, Brown) (F)
+
+    R       _King Argimenes and the Unknown Warrior_ (Little,
+            Brown) (F)
+
+    RS* Yeats, _The Land of Heart's Desire_ (Macmillan; Samuel
+    French)
+
+    CD*     _The Pot of Broth_ (Macmillan) (F)[14]
+
+    RS*     _Deirdre_ (Macmillan) (F)[14]
+
+    RS*     _The King's Threshold_ (Macmillan) (F)[14]
+
+        [14] Apply to Samuel French, 28 West 38th St., New York.
+
+    CRD* Lady Gregory, _The Rising of the Moon_ (Putnam) (F)[15]
+
+    CD*     _The Workhouse Ward_ (Putnam) (F)[15]
+
+    SRD*    _The Travelling Man_ (Putnam) (F)[15]
+
+    CD*     _Spreading the News_ (Putnam) (F)[15]
+
+    CD*    _The Jackdaw_ (Putnam) (F)[15]
+
+    CD*    _Hyacinth Halvey_ (Putnam) (F)[15]
+
+    SD* Hyde, _The Lost Saint_ (Scribner)
+
+    SD*     _The Twisting of the Rope_ (Poet Lore)
+
+    CD* Mayne, _The Turn of the Road_ (Luce) (F)
+
+    CD      _The Drone_ (Luce) (F)
+
+    SD* Synge, _The Shadow of the Glen_ (Luce) (F)[15]
+
+    CD  Boyle, _The Building Fund_ (Gill, Dublin) (F)
+
+    RC* Downs, _The Maker of Dreams_ (Samuel French) (F)[15]
+
+
+Sanskrit
+
+    SR  Kalidasa, _Sakountala_ (Walter Scott, London; and
+        Everyman's Library)
+
+
+Bengali
+
+    RS  Tagore, _The Post-Office_ (Macmillan) (F)[15]
+
+        [15] Apply to Samuel French, 28 West 38th St., New York.
+
+
+MODERN PLAYS (NINETEENTH AND TWENTIETH CENTURIES, IN WHICH THE COSTUMES
+AND SETTINGS ARE MODERN)
+
+
+Italian
+
+    S   Giacosa, _As the Leaves_ (in "The Drama No. 1, and by
+        Little, Brown)
+
+    S       _The Stronger_ (in "The Drama", May, 1913, and by Little,
+            Brown)
+
+
+French
+
+    C*  Augier, _The Post-Script_ (Samuel French, and in "Four
+        Plays by Emile Augier", Alfred A. Knopf)
+
+    SC      _The House of Fourchambault_ (Samuel French, and in
+        "Four Plays by Emile Augier", Alfred A. Knopf)
+
+    CR* Meilhac and Halevy, _Indian Summer_ (Samuel French)
+
+    CR*     _Panurge's Sheep_ (Samuel French)
+
+    CR* Feuillet, _The Village_ (Samuel French)
+
+    C*  Labiche, _The Two Cowards_ (Samuel French)
+
+    C*      _Grammar_ (Samuel French)
+
+    C   Pailleron, _The Art of Being Bored_ (Samuel French)
+
+    C*  Bernard, _French Without a Master_ (Samuel French)
+
+    C*      _I'm Going!_ (Samuel French)
+
+    C*  Donnay, _They!_ (In "Lovers, The Free Woman, and They!"
+        (Little, Brown)
+
+    S   France, _Crainquebille_ (Samuel French)
+
+    C*  Maurey, _Rosalie_ (Samuel French)
+
+    C*  Hervieu, _Modesty_ (Samuel French)
+
+    S   Capus, _The Adventurer_ ("The Drama", November, 1914)
+
+    C   _Brignol and his Daughter_ (Samuel French)
+
+    C*  Caillavet, _Choosing a Career_ (Samuel French)
+
+
+German
+
+    SC  Freytag, _The Journalists_ ("The Drama", February, 1913)
+
+    RC* Sudermann, _The Far-Away Princess_ (in "Roses", Scribner,
+        and separately, by Samuel French) (F)
+
+    S*      _Fritzchen_ (in "Morituri", Scribner)
+
+    C*  Benedix, _The Law-Suit_ (Samuel French)
+
+    C*      _The Third Man_ (Samuel French)
+
+    C*  Gyalui, _After the Honeymoon_ (Samuel French)
+
+
+Scandinavian
+
+    S*  Strindberg, _The Stronger_ (Scribner) (F)
+
+    SB  _Lucky Pehr_ (Stewart and Kidd) (F)
+
+    SC  Bjoernson, _The Newly-Married Couple_ (Everyman's Library;
+        Dutton)
+
+    C   _Love and Geography_ (Scribner)
+
+    S   Ibsen, _An Enemy of the People_ (Scribner)
+
+
+Russian
+
+C*  Tchekoff, _The Boor_ (Samuel French; Scribner)
+
+C*      _A Marriage Proposal_ (Samuel French; Scribner)
+
+C*      _The Tragedian in Spite of Himself_ (Scribner)
+
+C*  Andreyev, _The Dear Departing_ (Henderson, London), and
+    [same play] _Love of One's Neighbor_ (Boni, New York)
+
+
+English
+
+    C   Pinero, _The Schoolmistress_ (Walter H. Baker) (F)
+
+    C       _The Magistrate_ (Walter H. Baker) (F)
+
+    CS      _The Benefit of the Doubt_ (Dramatic Publishing
+            Company) (F)
+
+    C       _The Amazons_ (Walter H. Baker) (F)
+
+    C       _Dandy Dick_ (Walter H. Baker) (F)
+
+    C   Jones, _The Manoeuvres of Jane_ (Samuel French) (F)
+
+    CS      _The Liars_ (Samuel French) (F)
+
+    C       _Dolly Reforming Herself_ (Samuel French) (F)
+
+    C   Wilde, _The Importance of Being Earnest_ (Walter H.
+        Baker; Nichols; Luce; Putnam; and French)[16]
+
+    C*  Sutro, _The Bracelet_ (Samuel French; Brentano)
+        (F--Samuel French)
+
+    C*  Sutro, _The Man on the Kerb_ (Samuel French; Brentano)
+        (F--Samuel French)
+
+    C*      _A Marriage Has Been Arranged_ (Samuel French;
+            Brentano) (F--Samuel French)
+
+    CR* Barrie, _The Will_ (Scribner) (F)[16]
+
+    CR*     _The Twelve-Pound Look_ (Brentano) (F)[16]
+
+        [16] Apply to Sanger & Jordan.
+
+    CR      _The Admirable Crichton_ (Doran) (F)[17]
+
+    CR      _Quality Street_ (Doran) (F)[17]
+
+        [17] Apply to Sanger & Jordan.
+
+    C   Shaw, _You Never Can Tell_ (Brentano) (F)[18]
+
+    CR      _Candida_ (Brentano) (F)[18]
+
+    C*      _Press Cuttings_ (Brentano) (F)[18]
+
+    C*      _How He Lied to Her Husband_ (Brentano) (F)[18]
+
+    CR      _Arms and the Man_ (Brentano) (F)[18]
+
+        [18] Apply to American Play Co.
+
+    S   Barker, _The Voysey Inheritance_ (Little, Brown) (F)
+
+    SC  Bennett, _What the Public Wants_ (Doran) (F)
+
+    RC      _Milestones_ (Doran) (F)
+
+    S       _Cupid and Commonsense_ (Doran) (F)
+
+    C       _The Great Adventure_ (Doran) (F)
+
+    C*      _Polite Farces_ (Doran) (F)
+
+    S   Baker, _Chains_ (Luce) (F)
+
+    S*  Gibson, _Mates_ (Macmillan) (F)
+
+    S*      _On the Road_ (Macmillan) (F)
+
+    C   Hankin, _The Cassilis Engagement_ (Samuel French) (F)
+
+    C       _The Return of the Prodigal_ (Samuel French) (F)
+
+    C       _The Charity that Began at Home_ (Samuel French) (F)
+
+    C*  Houghton, _The Dear Departed_ (Samuel French) (F)
+
+    C*      _The Fifth Commandment_ (Samuel French) (F)
+
+    C*      _Phipps_ (Samuel French) (F)
+
+    SC  Houghton, _Independent Means_ (Samuel French) (F)
+
+    S   Galsworthy, _The Silver Box_ (Scribner) (F)[19]
+
+    C      _Joy_ (Scribner) (F)[19]
+
+    SC  Hamilton, _Just to Get Married_ (Samuel French) (F)
+
+    SC* Chapin, _Augustus in Search of a Father_ (Gowans and
+        Grey, London) (F)
+
+    DCR* Brighouse, _Lonesome Like_ (Samuel French) (F)
+
+    SD*     _The Price of Coal_ (Samuel French) (F)
+
+    C   Monkhouse, _The Education of Mr. Surrage_ (Sidgwick and
+        Jackson, London) (F)
+
+    C   Mason, _Green Stockings_ (Samuel French) (F)
+
+    SD  Ervine, _Jane Clegg_ (Holt) (F)
+
+    DCR* Fenn and Pryce, _'Op o' me Thumb_ (Samuel French) (F)
+
+
+American
+
+    S   Gillette, _Secret Service_ (Samuel French) (F)
+
+    S       _Held by the Enemy_ (Samuel French) (F)
+
+    C       _Too Much Johnson_ (Samuel French) (F)
+
+    C   MacKaye, _Anti-Matrimony_ (Stokes) (F)
+
+    C   Thomas (A. E.), _Her Husband's Wife_ (Doubleday, Page)
+        (F)[19]
+
+        [19] Apply to Samuel French for producing rights.
+
+    S*  Middleton, _The Failures_ (Holt) (F)[20]
+
+    S*      _The Groove_ (Holt) (F)[20]
+
+    S*      _Tradition_ (Holt) (F)[20]
+
+        [20] Apply to Samuel French for producing rights.
+
+    C*  Macmillan, _Short Plays_ (Stewart and Kidd) (F)
+
+    C  Forbes, _The Commuters_ (Samuel French) (F)
+
+    C       _The Traveling Salesman_ (Samuel French) (F)
+
+    S   Klein, _The Lion and the Mouse_ (Samuel French) (F)
+
+    R   Thomas, _Arizona_ (Dramatic Publishing Company) (F)
+
+    RD      _Alabama_ (Dramatic Publishing Company) (F)
+
+    C       _Mrs. Leffingwell's Boots_ (Samuel French) (F)
+
+    C       _The Other Girl_ (Samuel French) (F)
+
+    C       _Oliver Goldsmith_ (Samuel French) (F)
+
+    C       _The Earl of Pawtucket_ (Samuel French)(F)
+
+    C       _The Capitol_ (Samuel French) (F)
+
+
+                       COLLECTED VOLUME OF PLAYS
+
+1. _Representative One-Act Plays by American Authors_, edited by
+Margaret G. Mayorga (Little, Brown), contains a large number of suitable
+plays for amateurs. Among these are:
+
+    R*  _Sam Average_, by Percy MacKaye (F)
+
+    R*  _Six Who Pass While the Lentils Boil_, by Stuart Walker
+        (F)
+
+    S*  _In the Zone_, by Eugene O'Neill (F)
+
+    R*  _The Wonder Hat_, a Harlequinade by Ben Hecht and Kenneth
+        Sawyer Goodman (F)
+
+    C*  _Suppressed Desires_, by George Cram Cook and Susan
+        Glaspell (F)
+
+    S*  _The Last Straw_, by Bosworth Crocker (F)
+
+2. _Representative One-Act Plays by British and Irish Authors_, edited
+by Barrett H. Clark (Little, Brown), contains, among others, the
+following plays suited to the requirements of amateurs:
+
+    R*  _The Widow of Wasdale Head_, by Arthur Pinero (F)
+
+    C*  _Rococo_, by Granville Barker (F)
+
+    R*  _The Snow Man_, by Lawrence Housman (F)
+
+    C*  _Fancy Free_, by Stanley Houghton (F)
+
+3. _Fifty Contemporary One-Act Plays_, edited by Frank Shay and Pierre
+Loving (Stewart-Kidd), includes the following plays for amateurs:
+
+    C*   _Literature_, by Arthur Schnitzler (F)
+
+    C*  _Francoise' Luck_, by Georges de Porto-Riche (F)
+
+    S*  _Mary's Wedding_, by Gilbert Carman (F)
+
+    C*  _A Sunny Morning_, by the Quinteros (F)
+
+
+
+
+                               APPENDICES
+
+
+                               APPENDIX I
+
+                         COPYRIGHT AND ROYALTY
+
+The following statement regarding royalties on amateur plays was
+prepared by Mr. Allen J. Carter, an attorney of Chicago, for one of the
+Drama League pamphlets listing amateur plays:
+
+    "The copyright law of the United States requires that every
+    play, whether published or unpublished, for which copyright
+    protection is claimed, must be registered in the copyright
+    office at Washington, D.C. Until such registration, no action
+    for infringement of copyright can be maintained. The register of
+    copyrights keeps a complete record and index of all copyright
+    entries and publishes a catalogue of such entries at regular
+    intervals. Dramatic works are entered under Class D and are
+    found indexed under that heading in Part I, Group II of the
+    catalogues. Copies of these catalogues are on file in most of
+    the larger public libraries, and sets or parts of sets may be
+    purchased from the Superintendent of Public Documents at
+    Washington, D.C. Anyone wishing to learn whether a particular
+    play has been properly entered for copyright need only consult a
+    set of these catalogues. If such a set is not available, the
+    information will be promptly furnished by the register of
+    copyrights, Washington, D.C, upon request.
+
+    "Whenever a play has been published, examination of a copy of an
+    authorized printed edition will disclose whether such play has
+    been properly copyrighted. The law requires that a notice of
+    copyright must be placed either upon the title page, or upon the
+    page immediately following, of each copy published or offered
+    for sale in the United States. Such notice must consist either
+    of the word 'Copyright' or the abbreviation 'Copr.', accompanied
+    by the name of the copyright proprietor and the year in which
+    copyright was secured by publication. If published prior to
+    March 4, 1909, the notice may also be in the following form:
+    'Entered according to Act of Congress in the year ----, by A. B.
+    in the office of the Librarian of Congress at Washington.'
+    Whenever the author of a play or anyone to whom he has assigned
+    his rights publishes such play without proper notice of
+    copyright in some one of the three authorized forms above
+    mentioned, the play then and forever after becomes the property
+    of the public and may be performed and printed at will by
+    anyone. No subsequent attempt to copyright such play would be
+    valid, and any valid copyright previously secured would be
+    vitiated.
+
+    "A play which has never been published nor offered for sale, and
+    which exists only in manuscript form, may be copyrighted upon
+    proper entry being made at the copyright office in Washington,
+    D.C. Should such play be later published, however, the
+    publication must comply with all the requirements of the law as
+    to notice of copyright.
+
+    "Any person who infringes the copyright in any play shall be
+    liable: (a) To an injunction restraining said infringement; (b)
+    to pay actual damages to the copyright proprietor, or in place
+    of actual damages $100.00 for the first infringing performance
+    and $50.00 for each succeeding one; (c) to imprisonment not to
+    exceed one year, or to a fine not to exceed $1,000.00, or both,
+    wherever such person has infringed such copyright wilfully and
+    for profit.
+
+    "It follows, therefore, that if any group of amateurs perform a
+    copyrighted play without having obtained the consent of the
+    author or copyright proprietor, they are collectively liable to
+    damages of at least $100.00 under whatever conditions the
+    performance is given. If they do it wilfully and for profit,
+    they are in addition each individually liable to fine and
+    imprisonment under the criminal provision of the act."
+
+
+                              APPENDIX II
+
+                           A NOTE ON MAKE-UP
+
+Make-up as an art and a science does not properly fall within the scope
+of the present volume. However, it has been thought advisable to insert
+at this place sections from an interesting paper on make-up by one who
+has made a thorough study of the subject. The author acknowledges his
+obligation to Miss Grace Griswold, who wrote the article, for permission
+to make this use of it.
+
+                       _How and Where Lines Come
+                             into the Face
+                           A Study in Make-up
+                                   by
+                            Grace Griswold_
+
+Nearly all great actors are masters of make-up. They must be, for the
+illusions of the stage are no less pictorial than those of painting and
+sculpture, with the added elements of movement and voice, all of which
+must be brought into working harmony with the thought and feeling of the
+part, in a perfect portrayal. Any serious incongruity in externals is
+felt at once, and destroys the illusion.
+
+Women have not done as much as men in facial transformation, except in
+the way of burlesque and grotesquerie. Women's make-ups, on the whole,
+are far more conventional. The female face is more difficult to change
+without revealing the tricks. Heavy furrows and deep coloring are
+possible only for low types. Men can effect great changes by the use of
+beards and moustaches. A woman's art must be far subtler.
+
+Look at the men across the way.[21] Notice their eyes. We always see the
+eyes first, although the mouth is a more unerring key to character. The
+mouth for emotions and impulses, and the eyes for thoughts. As the mouth
+is the gateway of the soul, so the eyes are its windows, but, like all
+windows, their function is rather to give light and view to the interior
+than to expose it to the impertinence of passers-by.... His level brows,
+which show him to be of a practical or scientific turn of mind, are
+deeply contracted. So much so, that not only are there two perpendicular
+lines between them, but one across the top of the nose as well. The
+heavy bone formation which the brows outline, indicates rare powers of
+observation. But this man has come a cropper. See how restless and
+unseeing are his eyes! He is searching for a solution to the problem
+which is troubling him. It is a purely intellectual problem, for the
+mouth, which is the indication of the emotions and passions, is
+unaffected by what is going on above. There is nothing sinister about
+the problem: you see that the eyes are wide open. Now it is settled,
+because he appears focussed: he is following a single line of thought.
+
+    [21] It was imperative that the long article be abridged. The
+        reference here is to Miss Griswold's first sentence: "... take
+        a ride with me in the subway, where we may perhaps glean some
+        impressions for character portrayal upon the stage."
+
+Now observe the man on the right. He too is thinking hard, but his mouth
+is drawn, jaws set, eyelids puckered to a mere slit. He has been
+wronged, or believes he has, and is planning retaliation. His nostrils
+are dilated, his breathing heavy. Both these men are laboring under
+excitement, but we cannot read their natures, because their habitual
+expression is distorted.
+
+Do you see that dear soul opposite? There is work behind that face, work
+that has brought with it health. There has been good living, but no
+intemperance. See the strong muscles and the glow in the cheeks, with
+their Santa Claus rotundity. There is passion, too, but it is
+restrained: the lips are full, but the center line is straight. With
+less control, that line would tend to sag. Melancholia is also indicated
+in downward lines. In the case of this woman, the lip is perhaps too
+heavy to show delicacy of character, but it shows broad sympathy, and is
+redeemed by its upper consort, which reveals, except at the corners, a
+cupid's bow, full of tenderness. The Venus de Milo hardly escapes
+censure even with the lateral shortness of the lower lip and the
+softened outlines of the upper. This woman's mouth is larger, denoting
+generosity. Now look at the eyes--open just to the degree of frankness,
+but not of insincerity, like those of the vapid young person across the
+way. There are radiations from the corners, too: the footprints of many
+a pleasant smile. The eyebrows have the sympathetic upward sweep toward
+the nose, and there is a whimsical twist of the left eyebrow.
+Altogether, a pleasant countenance.
+
+A perfectly straight compressed mouth always implies strength of will.
+
+Now notice the woman just beyond with her high-bred aristocratic face.
+The "executive" nose, with its delicate arch, are especially indicative
+of her character. The eyebrows likewise are arched, over a full
+forehead; very imaginative. The eyes, slightly veiled in their
+expression, show her to be plunged in deep and somewhat troubled
+thought. Her eyes are veiled because she does not see clearly a way out
+of her problem, but that way out will be, we are sure, something noble.
+Her problem is not so exclusively an intellectual one as that of the man
+we mentioned: it must be some economic or philanthropical question--her
+chin is finely chiselled and held with exquisite poise, strong and at
+the same time delicate. Her complexion has the "pale cast of thought",
+but is not unhealthy however. The flesh lies easily upon its firm base.
+It will never warp into deep furrows. See, now she has solved or put
+aside her problem, for a moment, and her eyes are open and clear, and
+her smile, as she recognizes a friend, is engaging and unaffected. Her
+sympathies are less personal, more detached, but none the less real,
+than other women's.
+
+And now see this man who has just entered. He, too, is an aristocrat,
+but as he turns, we can observe that there is a one-sided twist to his
+face. The bone formation in his face is similar to that of the woman's,
+but his expression is exaggerated by a muscular habit of the mouth,
+possibly occasioned by the loss of teeth. His eyes are open, but they
+express impassive coldness. He has taken life with a sneer. His brows
+are not arched, although one of them is artificially raised: the result,
+undoubtedly, of boredom.
+
+Habitual good-humor ages the face in a pleasant manner. It is the only
+thing that never grows old: do you remember what genial sparkling eyes
+Joseph Jefferson and Mark Twain had?
+
+Bearing in mind these summary character studies, let us turn to the more
+practical side of make-up:
+
+Regarding _straight_ make-up--_i.e._ make-up which is designed to offset
+the glare of the lights--it can safely be asserted that most
+professionals make-up too heavily. This is partially due to the fact
+that the lights in the dressing-room are seldom of like intensity or
+kind as those on the stage. Billie Burke and Blanche Ring occur to us as
+having achieved happy results in making-up, the former with a rose-bud
+prettiness of white and pink, the latter by using so little color and
+blending that little so well that it is scarcely perceivable. Both these
+actresses use very little rouge on the upper eyelids, an excess of which
+is one of the commonest faults. The only purpose it can serve is to
+soften the upward and whitening glare of the footlights. The skilful use
+of rouge is the most important and least understood of all the numerous
+elements of this art. First as to shade, most of the rouge used is blue.
+It does not blend with most powders, but produces a hard contrast, and
+appears unnatural. The placing of the rouge, too, is very important in
+obviating natural defects of proportion in the features, which distances
+always intensify. Any spot left white is projected as if with a
+high-light. If the nose is too wide, it can be narrowed by shading the
+rouge up to its center line. If it is too prominent, it will be less
+apparent if shaded slightly all over. The same rule applies to the chin,
+the jaw, the ears, and the forehead. Some people lay in a general
+foundation of grease rouge before putting anything else on, but this is
+likely to give a muddy effect. If used only on the cheeks, with the dry
+rouge over all for shading, the effect is far more natural. Some also
+lay in a foundation of pink paste--called "Exora"--but the result is
+nearly always pasty, and should never be used except to cover some
+blotchiness. The lighter the make-up, the greater opportunity will there
+be for mobility of expression.
+
+The same moderation should be exercised in making up the eyes and mouth.
+Brown on the lashes and eyebrows is softer than black, especially for
+blondes. Heavy black leading above and below, accentuated by broad
+shadows on the lids of dark blue, make them look like burnt holes a
+short distance away. Few eyes are large enough to stand it, and those
+that are, do not require it. A little light or dark blue close to the
+lashes of the upper lid is necessary, but very few eyes need any make-up
+at all on the lower lid, except a faint shadow, perhaps, of light blue.
+A little dab of lip rouge in the inner corners of the eye adds an effect
+of brilliancy. If the eye itself slants, it can be straightened by a
+line of brown or black, drawn in the opposite direction, and beginning
+just inside the outer corners. The line of the upper lids and the
+eyebrows should be extended in almost every case, to give an effect of
+breadth to the eyes.
+
+If the face needs lengthening and the eyebrows are not too heavy, they
+can be covered with flesh-colored grease paint, and another pair painted
+above them. There is danger in this, however, of opening the frame of
+the eyes too much and giving them a foolish expression. The arched brow
+tends to elongate, the level, broad effect to shorten, the face.
+
+The mouth also needs careful treatment. As to color: the dark red rouge
+so often used gives the appearance of a bloody gash. The English hunting
+red, a sort of bluish vermilion, is best, because most natural. Only the
+very smallest mouths can stand being made up to the corners, because in
+smiling, the mouth stretches, and will look too large if deeply colored
+all the way across.
+
+A line of white grease paint drawn down the bridge of the nose will
+straighten it; or, if it be too small, lengthen it. The nose may also be
+completely transformed by putty.
+
+This brings us to what is known as the "character" make-up. Here again
+one is confronted by numberless problems regarding the use of colors. At
+best, character make-up is only the adjustment of one physiognomy to the
+habitual expression of another: complete transformation is out of the
+question. Nevertheless, the human face, being mobile, may assume
+expressions which are not habitual to it. However, it must be borne in
+mind that to superimpose a purely imaginary countenance over a natural
+one, regardless of what that natural one is, is a fatal mistake, because
+when the natural face attempts to express itself under the other, the
+effect will be lost.
+
+To return a moment to the problem of color: illusion is frequently lost
+through a failure to adjust the shade of the high-light and shadow to
+the tone of the foundation grease paint, or natural complexion. The
+commonest offence is the use of an unmixed, unblended slate for shadows,
+and white, and high-lights, whether the underlying color be florid,
+sallow, pink, or pale flesh. The result of such treatment is merely
+paint.
+
+The whole art of making-up is still hide-bound by tradition, because of
+stupid ideals which persist in the minds of those whose business it is
+to direct, as well as many in the acting profession itself.
+
+
+
+
+                                 INDEX
+
+
+
+
+                                 INDEX
+
+
+  "Alcestis", 4
+
+  Aristophanes, 5
+
+  Art adviser, 17
+
+  "Art of Being Bored, The", 48
+    Quoted, 53, 54-57
+    Stage grouping of, 54-57
+
+  "As You Like It", 2
+
+
+  Backgrounds, 106-107
+
+  Barker, Granville, 6
+
+  Belasco, David, 89, 106
+
+  "Blocking out", 24, 61
+    Example of, 24-33
+
+  "Blue Bird, The", 108
+
+  "Box sets", 82, 89, 91, 100
+
+  "Brignol and His Daughter", Setting for, 102, 103
+
+  Business manager, Duties of, 11-12, 14
+
+
+  "Call Boy", Duty of, 16
+
+  Capus, Alfred, 102
+
+  Cast, Ability of, 2
+    Selection of, 19, 20
+    Size of, 2
+
+  "Chantecler", 108
+
+  Characterization by amateurs, 2, 3, 4
+
+  Cheney, Seldon, 76 (_Note_), 77
+
+  Classics, 2, 3, 4
+
+  "Clouds, The", 5
+
+  Coach, Selection of, 20, 21
+
+  Comedies, 4
+
+  "Comedy of Errors, The", 2, 3, 5
+    Setting for, 93-94
+
+  Costume man, Duties of, 10, 14, 15, 17
+
+  Costumes, 14-15
+    Accuracy of, 108-109
+
+  "Costumes and Scenery for Amateurs", 81
+
+  Craig, Gordon, 102
+
+  Crowds or large groups, Rehearsing of, 15, 58, 59
+
+  Curtain man, Duties of, 10
+
+  Cyclorama, 78-81, 84, 88
+    Construction of, 78, 79-80, 81
+    Description of, 78
+    Value of, 78
+
+
+  De Vega, Lope, 4
+
+  Deutsches Theater (Berlin), 95
+
+  Diagram, Making of, 40-46, 60
+
+  Director, Duties of, 8-10, 14, 16, 17, 20, 23, 24, 28, 34, 52, 58, 59,
+      64, 67, 73
+
+  "Doctor in Spite of Himself", 5
+
+  "Doll's House, A", 2
+
+  Draperies, 80, 83, 92, 98
+
+
+  "Electra", 4
+
+  Electrician, 13
+
+  Euripides, 4
+
+
+  "Fan, The", 5
+
+  "Far-away Princess, The", Setting for, 100-101
+
+  Farces, 4
+
+  Footlights, 86, 87, 89
+    Boxed, 84
+
+  Fortuny lighting system, 86, 88
+
+  Furniture, Handling and setting of, 15
+
+
+  Goldoni, 4, 5
+
+  Gregory, Lady, 90
+
+  Grouping actors, 48, 58, 59, 61
+    Examples of, 50-52, 53-57, 58-59, 63
+
+
+  "Hamlet", 4
+
+  Handling and setting of scenery and furniture, 15, 17
+
+
+  Imitation of Professionals, 68, 69
+
+  "Importance of Being Earnest, The", 3
+    "Blocked out", 28-34
+    Quoted, 24-28
+
+  "Indian Summer", Quoted, 71-72
+
+  Interpretation by amateurs, 69-70
+
+
+  Jones, Henry Arthur, 3, 46, 47, 48
+
+  "Julius Caesar", Costumes of, 108
+    Grouping in, 58-59
+
+
+  Klein, Charles, 89
+
+  Kotzebue, 4
+
+
+  "Le Bourgeois Gentilhomme," 3,5
+
+  Lessing, 4, 5
+
+  Lessing Theater, Berlin, 107
+
+  "Liars, The", 3, 46, 47
+    Quoted, 46, 50
+    Stage grouping of, 49-52
+
+  Lighting, Stage, 76, 78-79, 85, 89
+    Examples of, 89, 90
+    Fortuny system of, 86, 88
+    Kinds of:
+      Arc, 88
+      Border, 86
+      Calcium, 88
+      Footlights, 84, 86, 87, 89
+
+  Lightman, Duties of, 10, 13-14, 15
+
+  "Lysistrata", 5
+
+
+  MacKay, Constance D'Arcy, 82
+
+  "Magistrate, The", 4
+
+  "Man and Superman", 4
+
+  "Marrying of Ann Leete, The", 6
+
+  "Merchant of Venice, The", 85
+
+  "Milestones", 109
+
+  "Minna von Barnhelm", 5
+
+  "Modern Movement in the Theatre, The", 76 (_Note_)
+
+  Modern plays, 4, 6
+
+  Moderwell, Hiram Kelly, 76 (_Note_), 77
+    Quoted, 86-87
+
+  Modulation, Example of, 71-72
+
+  Moliere, 3, 4, 5
+
+  Music, 15, 17
+
+  "Music Master, The", Lighting of, 89
+
+
+  Original Plays, 6
+
+
+  Pailleron, Edouard, 48
+
+  "Peer Gynt", Setting for, 107
+
+  Performance, Essentials of, 74 75
+
+  "Phormio", 5
+
+  Plautus, 5
+
+  Plays, "Cutting", 23
+
+  Plays, Kind of, 8-7
+    Classic, 2, 3, 4, 5, 6, 14
+    Comedies, 4
+    Farces, 4
+    Modern, 4, 5
+    Original, 6
+    Problem, 4
+    Sex, 4
+    Thesis, 4
+    Translated, 6
+    Reading of, 23-24
+
+  Plotting the stage, Examples of, 41-45, 49-52
+
+  Problem plays, 4
+
+  Prompt-copy, Making of, 34
+
+  Prompter, Duty of, 75
+
+  Property man, Duties of, 10, 12, 13, 15, 75
+
+  Proscenium, 81
+    Alteration of, 81, 82, 83, 84, 103-104
+    Diagrams of, 82, 83
+
+
+  Rehearsals, 15, 22, 58, 59, 61, 66, 67, 68, 70
+    First, 22-24, 61
+    Second, 24, 61, 66
+    Dress, 73, 74
+    Scene and light, 74
+
+  Reinhardt, Max, 95, 106
+
+  Revolving stage, 85
+
+  "Rising of the Moon, The", Lighting of, 90
+
+  "Rivals, The", 3, 5
+
+  "Romancers, The", 15, 106, 108
+    Setting for, 97-99
+
+  Rostand, 13, 97, 108
+
+
+  Scenery, Handling and Setting of, 15, 17
+
+  "Scrap of Paper, A", Setting for, 104-105
+
+  Screens, 83, 92, 102-103, 104
+
+  Settings, Stage, 77, 81, 82, 83, 85, 89, 91
+    "Box sets", 82, 89, 91
+    Examples of, 93-94, 95-97, 97-99, 100-101, 102-106
+
+  Sex plays, 4
+
+  Shakespeare's plays, Settings for, 92, 98-94, 94-97, 97-99, 106
+    Stage business of, 52
+
+  Shaw, G. Bernard, 3, 13, 34, 47
+
+  Sheridan, Richard Brinsley, 3, 5
+
+  "She Stoops to Conquer", 5
+
+  Simpson, J. Palgrave, 104
+
+  Sophocles, 4
+
+  Staff, Duties of members of, 9-17, 73-75
+    Head of (Director) 8-10
+    Organization of, 8-16
+
+  Stage, Physical requirements of, 76
+    Revolving, 85
+    Wagon, 85
+
+  Stage "business", 52, 61, 62, 64, 66, 69-70,
+    Examples of, 62, 63-64, 65
+    How to remember, 60
+
+  Stage directions, 28 (_Note_)
+    For "You Never Can Tell", 35-40
+
+  Stage grouping, _see_ GROUPING
+    Lighting, _see_ LIGHTING
+    Manager, Duties of, 10-11, 13, 14, 15, 16, 22, 23, 28, 74
+    Settings, _see_ SETTINGS
+
+  Sudermann, Hermann, 100
+
+  "Sumurun", Background for, 106
+
+
+  Terence, 5
+
+  "Theatre of To-day, The", 76 (_Note_), 79
+
+  Thesis plays, 4
+
+  Translations, 6
+
+  "Twelfth Night", Settings for, 94-99, 106
+
+  "Twins, The", 5
+
+
+  Understudies, 16, 21
+
+
+  Wagon Stage, 85
+
+  Wardrobe mistress, _see_ COSTUME MAN
+
+  Warfield, David, 89
+
+  Wilde, Oscar, 3, 24, 47
+
+
+  "You Never Can Tell", 3, 13
+    Diagram of, 40-45
+    Quoted, 35-40
+    Stage directions of, 40
+
+
+
+
+                           Transcriber Notes:
+
+Passages in italics were indicated by _underscores_.
+
+Passages in bold were indicated by =equal signs=.
+
+Small caps were replaced with ALL CAPS.
+
+Throughout the dialogues, there were words used to mimic accents of the
+speakers. Those words were retained as-is.
+
+The illustrations have been moved so that they do not break up
+paragraphs and so that they are next to the text they illustrate. Thus
+the page number of the illustration might not match the page number in
+the List of Illustrations, and the order of illustrations may not be the
+same in the List of Illustrations and in the book.
+
+Errors in punctuations and inconsistent hyphenation were not corrected
+unless otherwise noted.
+
+On page 115, "Minna Von Barnhelm" was replaced with "Minna von
+Barnhelm".
+
+
+
+
+
+End of Project Gutenberg's How to Produce Amateur Plays, by Barrett H. Clark
+
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