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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:13:49 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:13:49 -0700 |
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diff --git a/39973-h/39973-h.htm b/39973-h/39973-h.htm new file mode 100644 index 0000000..7c0540f --- /dev/null +++ b/39973-h/39973-h.htm @@ -0,0 +1,5145 @@ + +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of How To Produce Amateur Plays, by Barrett H. Clark. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; + } + +h1 { + margin-top: 7%; + text-indent: 0%; + text-align: center; + clear: both; +} + +h2 { + margin-top: 4%; + text-indent: 0%; + text-align: center; + clear: both; +} + +h3, h4 { + text-indent: 0%; + text-align: center; + clear: both; +} + +/* paragraphs */ + +p { + margin-top: 3%; + margin-bottom: 3%; + text-align: justify; +} /* general paragraph */ + +p.cnobmargin { + text-align: center; + margin-bottom: .0%; +} /* centered no bottom margin */ + +p.cnomargins { + text-align: center; + margin-bottom: .0%; + margin-top: .0%; +} /* centered no bottom or top margin */ + +p.cnotmargin { + text-align: center; + margin-top: .0%; +} /* centered no top margin */ + +p.indent { + text-indent: 4%; +} /* indented paragraph */ + +hr { + width: 33%; + margin-top: 8%; + margin-bottom: 8%; + margin-left: auto; + margin-right: auto; + clear: both; +} + +.hr2 +{ + width: 90%; + max-width: 90%; + color: #CCCCCC; + background-color: #FFFFFF; + border: none; + border-bottom: 6px double black; + margin: 8% auto; +} /* horizontal rule for chapter divisions */ + +/* tables */ + +table { + margin-left: auto; + margin-right: auto; +} + +.pagenum { + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + +.center { + text-indent: 0%; + text-align: center; +} + +.right {text-align: right;} + +.smcap {font-variant: small-caps;} + +.caption { + font-weight: bold; + text-align: center; +} + +/* Links attributes */ + +a:link { color:#000000; text-decoration: none; border-bottom: 1px dashed #808080;} + +a:visited { color:#25383C; text-decoration: none; border-bottom: 1px dashed #808080;} + +a:hover { color:#008000; text-decoration: none; border-bottom: 1px dashed #808080;} + +a:active { color:#000000; text-decoration: none; border-bottom: 1px dashed #808080;} + +ins {text-decoration: none; border-bottom: 1px dashed #dcdcdc;} + +/* Images */ + +img { + padding: 6px; +} /* without border */ + +img.border{ + border: 1px solid black; + padding: 6px; +} /* with border */ + +.figcenter { + margin: auto; + text-align: center; +} + +/* Footnotes */ + +.footnotes {border: dashed 1px; background-color: #CCCCCC;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +/* Poetry */ +.poem { + margin-left:10%; + margin-right:10%; + text-align: left; +} + +.poem .stanza {margin: 4% 0% 4% 0%;} + +.poem span.i0 { + display: block; + margin-left: 0%; + padding-left: 12%; + text-indent: -12%; +} + +.poem span.i2 { + display: block; + margin-left: 8%; + padding-left: 12%; + text-indent: -12%; +} + +.poem span.i4 { + display: block; + margin-left: 16%; + padding-left: 12%; + text-indent: -12%; +} + +span.ralign { + position: absolute; + right: 10%; + top: auto; +} + +div.tnote { + background-color: #CCCCFF; + border-style: dotted; + margin-left: 10%; + margin-right: 10%; + padding: 1%; + font-style: normal; + font-size: 90%; + text-align: justify; +} + + </style> + </head> +<body> + + +<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> </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 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 "give a play", until the curtain drops on the last +performance of it.</p> + +<p class="indent">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.</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'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> I. <span class="smcap">Choosing the Play</span> <span class="ralign"><a href="#page1">1</a></span></p> + +<p> II. <span class="smcap">Organization</span> <span class="ralign"><a href="#page8">8</a></span></p> + +<p> III. <span class="smcap">Choosing the Cast</span> <span class="ralign"><a href="#page18">18</a></span></p> + +<p> IV. <span class="smcap">Rehearsing I</span> <span class="ralign"><a href="#page22">22</a></span></p> + +<p> V. <span class="smcap">Rehearsing II</span> <span class="ralign"><a href="#page48">48</a></span></p> + +<p> VI. <span class="smcap">Rehearsing III</span> <span class="ralign"><a href="#page73">73</a></span></p> + +<p> 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> IX. <span class="smcap">Scenery and Costumes</span> <span class="ralign"><a href="#page91">91</a></span></p> + +<p> 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">"The Grotesques", by Cloyd Head. Produced at the Little Theater, Chicago</span> <span class="ralign"><a href="#ill8">8</a></span></p> + +<p><span class="smcap">"The Trojan Women" of Euripides. Produced at the Little Theater, Chicago</span> <span class="ralign"><a href="#ill18">18</a></span></p> + +<p><span class="smcap">"Captain Brassbound's Conversion", 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's "Whims." Produced by the Washington Square Players</span> <span class="ralign"><a href="#ill48">48</a></span></p> + +<p><span class="smcap">"Sister Beatrice" 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'</i> "The Money Question." Produced at Tufts College</span> <span class="ralign"><a href="#ill80">80</a></span></p> + +<p><span class="smcap">Scenes From Euripides' "Electra." 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 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 "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.</p> + +<p class="indent"><span class="pagenum"><a name="page2" id="page2"></a>[pg 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 +"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: +<span class="pagenum"><a name="page3" id="page3"></a>[pg 3]</span> +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.</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 "unpleasant plays." Without entering into the +reasons for this aversion, it is rather fortunate, +<span class="pagenum"><a name="page4" id="page4"></a>[pg 4]</span> +because as a general rule, "thesis", "sex", and +"problem" 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: +"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.</p> + +<p class="indent">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 +<span class="pagenum"><a name="page5" id="page5"></a>[pg 5]</span> +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.</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' "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 +<span class="pagenum"><a name="page6" id="page6"></a>[pg 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'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 +<span class="pagenum"><a name="page7" id="page7"></a>[pg 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">"The Grotesques", 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 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 "props", costumes, and furniture; to manage the +stage during the performance—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 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 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 +"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.</p> + +<p class="indent">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 +<span class="pagenum"><a name="page11" id="page11"></a>[pg 11]</span> +manager to keep a record of all "property plots", "light +plots", "furniture plots", etc.</p> + +<p class="indent">It is also the stage manager'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 +"goes" 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—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 +<span class="pagenum"><a name="page12" id="page12"></a>[pg 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—such as revolvers, swords, letters, etc.—in a word, +everything actually <i>used</i> by the actors, and not falling under the +categories of "scenery", "costumes", and +"furniture."</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 "props", as much furniture +<span class="pagenum"><a name="page13" id="page13"></a>[pg 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'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.</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 "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 +<span class="pagenum"><a name="page14" id="page14"></a>[pg 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—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 +<span class="pagenum"><a name="page15" id="page15"></a>[pg 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'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 +"Rehearsing" (p. 58). Here it will suffice to state that it is +well to +<span class="pagenum"><a name="page16" id="page16"></a>[pg 16]</span> +have an assistant whose duty it is to see that the "supes" +[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 +"call boy" 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'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.</p> + +<p class="indent"><span class="pagenum"><a name="page17" id="page17"></a>[pg 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'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.</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'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">"The Trojan Women", 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 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 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'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—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.</p> + +<p class="indent">In cases where members must at first assume +<span class="pagenum"><a name="page20" id="page20"></a>[pg 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 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' 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."</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">"Captain Brassbound's Conversion", 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 22]</span></p> + +<h2>CHAPTER IV</h2> + +<h3>REHEARSING<br /> +I</h3> + +<p class="indent"><span class="smcap">The</span> 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 +<span class="pagenum"><a name="page23" id="page23"></a>[pg 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">"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.</p> + +<p class="indent">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.</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 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>—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.</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 "blocking out"? Let us take an easy +example and block out the first few minutes' of Wilde's +"The Importance of Being Earnest."<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—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.</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 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't think it +polite to listen, sir.</p> + +<p class="indent"><span class="smcap">ALGERNON.</span> 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.</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'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 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'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'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. +[<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 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'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 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's +flat in Half Moon Street, and that it is "<i>luxuriously and +artistically furnished</i>." The next directions—"<span +class="smcap">LANE</span> <i>is arranging tea on a +table</i>"—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 "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.</p> + +<p class="indent">The room evidently at least has two doors: one leading +into the hallway—up-stage Center—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 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' point of +view. Up-stage and down-stage mean respectively away from and toward the +footlights.</p> +</div> +</div> + +<p class="indent">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:</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—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 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'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 +<i>"Hands them on salver</i>." The other "business" +is inferred from the dialogue. Algernon then "<i>Inspects them, +takes two, and sits down on the sofa</i>."</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 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—(Luce and Baker +editions) "<i>Goes over and takes sandwich</i>"—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 32]</span> +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.</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 +"<i>off his gloves</i>." 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 33]</span> +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 "<i>Goes over and takes +sandwich</i>." 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.</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 34]</span> +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.</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 "You Never Can Tell":<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's.</p> +</div> +</div> + +<p class="indent"><span class="pagenum"><a name="page35" id="page35"></a>[pg 35]</span></p> + +<blockquote> +<p class="indent"><i>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.</i> +<span class="pagenum"><a name="page36" id="page36"></a>[pg 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'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 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'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.</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 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't count. I only meant my +first tooth in private practice. Why didn'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'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 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't you? it'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'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't quite +the latest thing, is it?</p> + +<p class="indent"><span class="smcap">THE DENTIST.</span> It's my +landlord'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't been here +long?</p> + +<p class="indent"><span class="pagenum"><a name="page40" id="page40"></a>[pg 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'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.</p> + +<p class="indent">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 +<span class="pagenum"><a name="page41" id="page41"></a>[pg 41]</span> +goes on to say that the room is "<i>Not the usual tiny London den, +but the best sitting room of a furnished lodging.</i>" By +inference, it is a large room. The operating chair is "<i>half way +between the center of the room and one of the corners</i>." 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:</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, "<i>you will see the +fireplace in the middle of the wall opposite you, with the door beside +it to your left</i>":</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 42]</span> +The next article of furniture mentioned is the easy chair "<i>on +the hearth</i>":</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/p42a.png" width="500" height="186" alt="" title="" /> +</div> + +<p class="indent">Then come "<i>a neat stool and bench</i>" +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">"<i>Near it</i>" 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 "<i>look away to your +left, where you can see another window</i>." 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 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">"<i>Next the writing table, towards the door, is +a leather covered sofa.</i>" 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 +<span class="pagenum"><a name="page44" id="page44"></a>[pg 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">"<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>"</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 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 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's "The Liars" (in the special edition +published by Samuel French):</p> + +<blockquote> +<p class="indent"><i>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.</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 47]</span> +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.</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's "Whims", 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 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'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":</p> + +<p class="indent"><span class="pagenum"><a name="page49" id="page49"></a>[pg 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) "<i>Sir C. opens door L. for Mrs. +Crespin</i>":</p> + +<p class="indent"><span class="pagenum"><a name="page50" id="page50"></a>[pg 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'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'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?<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'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'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—and perhaps Gilbert—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 51]</span> +Then, "<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>" 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's speech, +"<i>Lady Jess. sits L.C.</i> [left of Center]. <i>Sir Chris. puts +hat on bookcase C., and comes down C.</i>"</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 52]</span> +direction: "<i>Crosses to him</i> [Sir Christopher] <i>C. Freddie +sits R.C. annoyed</i>."</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 +"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 +<span class="pagenum"><a name="page53" id="page53"></a>[pg 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">"<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>"</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 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—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.</p> +</blockquote> + +<p class="indent"><span class="pagenum"><a name="page55" id="page55"></a>[pg 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—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.—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—Bellac and Roger, and one of +the ladies, let us say—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—(<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'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 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't always remain in the clouds. Come down to earth, Baron.</p> + +<p class="indent"><span class="smcap">SAINT-RÉAULT.</span> Thank you, +but—well, you see, I had already finished.</p> + +<p class="center">(<i>Everybody rises</i>).</p> +</blockquote> + +<p class="indent">Saint-Réault'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!—A little obscure!—Excellent!—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 57]</span> +<span class="smcap">PAUL</span> (<i>to Jeanne</i>). He'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 "<i>aside to the Duchess</i>" +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'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 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—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.</p> + +<p class="indent">In the "forum scene" of Shakespeare's +"Julius Cæsar" there are practically no stage +<span class="pagenum"><a name="page59" id="page59"></a>[pg 59]</span> +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.</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 "leaders" 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's and the +stage manager'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 60]</span> +An easy and vivid way of remembering +"business" 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: "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:</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 61]</span> +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.</p> + +<p class="indent">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.</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.—these matters were +deferred, and will now be taken up.</p> + +<p class="indent">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 +<span class="pagenum"><a name="page62" id="page62"></a>[pg 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 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 "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:</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 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'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 <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 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 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 "business" is +worked out perfectly.</p> + +<p class="indent">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.</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 "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 +<span class="pagenum"><a name="page67" id="page67"></a>[pg 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' +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 +<span class="pagenum"><a name="page68" id="page68"></a>[pg 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 +"stale", and lose interest in his work.</p> + +<p class="indent">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 <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 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'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 70]</span> +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.</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 +"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.</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 71]</span> +from Meilhac and Halévy's "Indian Summer" +(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—</p> +<p><span class="smcap">BRI.</span> Why out of the question—?</p> +<p><span class="smcap">ADR.</span> Why, because—</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'll give you twice as much—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't be so bad—there's just one thing against it—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'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's all very +well—a young person like me—alone with you. +(<i>Seriously.</i>) Oh, if you only didn't live alone—!</p> +<p><span class="smcap">BRI.</span> If I—? If I weren'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—married relatives—your nephew, for instance, with +his wife—then I might—</p> +</td> +</tr> + +<tr> +<td> +<p><i>Emphasis</i></p> +</td> +<td> +<p><span class="smcap">BRI.</span> 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 him.</p> +<p>(<span class="smcap">ADRIENNE</span> <i>makes a quick movement of +protest</i>.) 'Tisn't his fault, I know, but I hold a grudge +against him as if it were—</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—</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't want to do that. I'm sure I +don't know what will happen afterward. I still hope—But for +the moment, I must (<i>Mild access of crying</i>). Oh I'm +sorry—so sorry—(<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—there! There! (<i>Brushing away +her tears</i>). See, it's all over!</p> +</td> +</tr> +</table> + +<p><span class="pagenum"><a name="page72" id="page72"></a>[pg 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'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 stay +here—near me—always—and be happy?</p> +<p><span class="smcap">ADR.</span> (<i>lightly</i>). Oh yes, it's +too—I say it from the bottom of my heart!</p> +<p><span class="smcap">BRI.</span> Very well, you shan't go.</p> +<p><span class="smcap">ADR.</span> I—?</p> +<p><span class="smcap">BRI.</span> No, you shan't go.</p> +<p><span class="smcap">ADR.</span> But—how?—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'll do it!—Go and speak to +your Aunt—Here! Come here! (<i>Enter</i> <span +class="smcap">NOEL</span>, <i>right, carrying a bundle of papers</i>). +Come here! Don't be afraid! You may go and get your wife. Bring her +here! I'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—now I know it! What do I care if she is a watchmaker's daughter? Go and get +your wife—bring her here—and we'll live together, +the four of us us—</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—I'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">"Sister Beatrice" 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 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 "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 +<span class="pagenum"><a name="page74" id="page74"></a>[pg 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 "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.</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 75]</span> +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.</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, +"business" off-stage—like ringing bells, shooting, +etc.—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 76]</span></p> + +<h2>CHAPTER VII</h2> + +<h3>THE STAGE</h3> + +<p class="indent">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<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 +"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.</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 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 78]</span> +the modern stage. The first of these is undoubtedly:</p> + +<p class="indent"><b>The Cyclorama.</b> 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, +<span class="pagenum"><a name="page79" id="page79"></a>[pg 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."<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's "The Theatre of To-day." 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 +"loft" 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 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 +"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.</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'Arcy Mackay's book on +"Costumes and Scenery for Amateurs" the author describes how a +"desert and oasis" +<span class="pagenum"><a name="page81" id="page81"></a>[pg 81]</span> +scene can be made from the simplest means:</p> + +<p class="indent">"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."</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 "Lighting."</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'</i> "The Money Question", +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 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 "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.</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 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 +"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 +<span class="pagenum"><a name="page84" id="page84"></a>[pg 84]</span> +have added a fourth side to this frame, by "boxing" 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—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 +<span class="pagenum"><a name="page85" id="page85"></a>[pg 85]</span> +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.</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 "wagons."</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 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 "The Theatre of +To-day"):</p> + +<blockquote> <p class="indent">"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 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 'foots' 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 "The Architectural Review."</p> + +<p class="indent"><span class="smcap">Operation of the Fortuny Indirect Lighting System.</span></p> +</div> + +<p class="indent">"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 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."</p> </blockquote> + +<p class="indent">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.</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 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'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.</p> + +<p class="indent">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 +<span class="pagenum"><a name="page90" id="page90"></a>[pg 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 "foots" +or "borders"; 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 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 "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." +<span class="pagenum"><a name="page92" id="page92"></a>[pg 92]</span> +Beardsley'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 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 "The Comedy of Errors" +is the play to be performed. The first scene of the first act is +"<i>A hall in the Duke's palace</i>." 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 "<i>A public place</i>." +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:</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 94]</span> +<span class="i0">Dost thou conjure for wenches, that thou call'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 "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 "<i>before an abbey</i>", 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 "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.</p> + +<p class="indent">Let us now take rather a more difficult play, +"Twelfth Night." The first scene of the first act is +"<i>An apartment in the Duke's palace</i>." +<span class="pagenum"><a name="page95" id="page95"></a>[pg 95]</span> +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.</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—the +musicians stand—or else, following Reinhardt, a semicircular +lounge. This is all. The second scene is "<i>The +seacoast</i>." The stage is bare here. The third scene is +"<i>A room in Olivia's house</i>." 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 "<i>A street</i>." No furniture. The third scene is +"<i>A room in Olivia's house</i>"; 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 96]</span> +fifth scene of the second act is "<i>Olivia's garden</i>." +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 "Twelfth Night", 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 97]</span> +the same. The second scene of the third act is the cellar room again. +Following this is "<i>A street</i>"; then +"<i>Olivia's garden</i>" once more. The next new scene is +the first of the fourth act: "<i>A street before Olivia's +garden</i>." 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'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:</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's</span> <i>park is seen; at the left, a +corner of</i> <span class="smcap">pasquinot'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 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, "<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 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>" 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: "<i>The scene +is the same except that the wall is being rebuilt. Bricks and sacks of +plaster lie about</i>." 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 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'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:</p> + +<blockquote> <p class="indent">"<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 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>."</p> </blockquote> + +<p class="indent">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:</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 102]</span> +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:</p> + +<blockquote> <p class="indent"><span class="smcap">Scene</span>: <i>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.</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—not to be +confused with the large screens mentioned by Gordon Craig, +however—practically any realistic play can be produced. The diagram +<span class="pagenum"><a name="page103" id="page103"></a>[pg 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">"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 +<span class="pagenum"><a name="page104" id="page104"></a>[pg 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 "A Scrap of Paper" +(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 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 "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.</p> + +<p class="indent">With such a background, and by means of +<span class="pagenum"><a name="page106" id="page106"></a>[pg 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—<i>i.e.</i> 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 +<span class="pagenum"><a name="page107" id="page107"></a>[pg 107]</span> +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 +<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 108]</span> +<b>Costumes.</b> 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 +<span class="pagenum"><a name="page109" id="page109"></a>[pg 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—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 <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 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 "worth-while" plays. +The general headings "Classic", 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 +"full length."</p> + +<p class="indent">The letter "<span class="smcap">S</span>" +denotes serious or tragic plays, intended in nearly every case for +advanced amateurs.</p> + +<p class="indent">The letter "<span class="smcap">R</span>" +denotes plays of a romantic and poetic nature.</p> + +<p class="indent">The letter "<span class="smcap">C</span>" +denotes comedies, farces, and plays in lighter vein.</p> + +<p class="indent"><span class="pagenum"><a name="page111" id="page111"></a>[pg 111]</span> +The letter "<span class="smcap">F</span>" 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 "<span class="smcap">D</span>" +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.</p> + +<p class="indent">All plays not included in the first division +"<i>Classics, including modern costume and historical +plays</i>" are to be found in the second division: "<i>Modern +plays.</i>"</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'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 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' "Electra". 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's +Library)</p> + +<p class="indent"><span class="smcap">RC</span> Aristophanes, <i>The +Clouds</i> (Macmillan; "The Drama", 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'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> +("The Drama", 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 "The +Drama", 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> ("The +Drama", 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 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'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's +Craze for Titles</i> (in "The Drama"; Historical Publishing +Company, 1903, vol. viii.)</p> + +<p class="indent"><span class="smcap">C</span>* Le Sage, <i>Crispin, His +Master'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's Son-in-law [Le Gendre de M. Poirier]</i> (in "Four +Plays by Emile Augier", published by Alfred A. Knopf, <span +class="pagenum"><a name="page114" id="page114"></a>[pg 114]</span> +and in "Chief European Dramatists", 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> ("The Drama", Victorian edition)</p> + +<p class="indent"><span class="smcap">C</span> <i>Captain Bombastes +Thunderton</i> (in "Three Comedies by Ludvig Holberg", +published by Longmans) (Requires cutting)</p> + +<p class="indent"><span class="pagenum"><a name="page115" id="page115"></a>[pg 115]</span> +<span class="smcap">CR</span> Hertz, <i>King René'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's Library; Dutton)</p> + +<p class="indent"><span class="smcap">R</span> Lyly, <i>Alexander and +Campaspe</i> (Scribner, and in Everyman'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'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'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 116]</span>Shakespeare (no plays need be mentioned. +The "Ben Greet Shakespeare for Amateurs" +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's plays)</p> + +<p class="indent"><span class="smcap">CR</span> <i>She Stoops to Conquer</i> (in any edition of +Goldsmith's plays)</p> + +<p class="indent"><span class="smcap">CR</span> Sheridan, <i>The Rivals</i> (in any edition of +Sheridan's plays)</p> + +<p class="indent"><span class="smcap">C</span> <i>The School for Scandal</i> (in any edition +of Sheridan's plays)</p> + +<p class="indent"><span class="smcap">C</span> <i>The Critic</i> (in any edition of Sheridan's +plays)</p> + +<p class="indent"><span class="smcap">CR</span> Pinero, <i>Trelawney of the 'Wells'</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 & 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 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'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'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'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 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'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 "The Drama +No. 1, and by Little, Brown)</p> +</blockquote> + +<blockquote> +<p class="indent"><span class="pagenum"><a name="page119" id="page119"></a>[pg 119]</span> +<span class="smcap">S</span> <i>The Stronger</i> (in "The Drama", 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 "Four Plays by Emile Augier", +Alfred A. Knopf)</p> + +<p class="indent"><span class="smcap">SC</span> <i>The House of Fourchambault</i> (Samuel +French, and in "Four Plays by Emile +Augier", 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'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'm Going!</i> (Samuel French)</p> + +<p class="indent"><span class="smcap">C</span>* Donnay, <i>They!</i> (In "Lovers, The Free +Woman, and They!" (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> ("The Drama", +November, 1914)</p> +</blockquote> + +<blockquote> +<p class="indent"><span class="pagenum"><a name="page120" id="page120"></a>[pg 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> ("The Drama", +February, 1913)</p> + +<p class="indent"><span class="smcap">RC</span>* Sudermann, <i>The Far-Away Princess</i> (in +"Roses", Scribner, and separately, by +Samuel French) (F)</p> + +<p class="indent"><span class="smcap">S</span>* <i>Fritzchen</i> (in "Morituri", 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'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 121]</span> +<span class="smcap">C</span>* Andreyev, <i>The Dear Departing</i> (Henderson, +London), and [same play] <i>Love of One'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 Manœuvres 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—Samuel French)</p> + +<p class="indent"><span class="smcap">C</span>* Sutro, <i>The Man on the Kerb</i> (Samuel +French; Brentano) (F—Samuel French)</p> + +<p class="indent"><span class="smcap">C</span>* <i>A Marriage Has Been Arranged</i> (Samuel +French; Brentano) (F—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 & Jordan.</p> +</div> +</div> +</blockquote> + +<blockquote> +<p class="indent"><span class="pagenum"><a name="page122" id="page122"></a>[pg 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 & 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 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>'Op o' 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'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 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'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 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'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' Luck</i>, by Georges de Porto-Riche +(F)</p> + +<p class="indent"><span class="smcap">S</span>* <i>Mary'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 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">"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 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">"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 <span class="pagenum"><a +name="page129" id="page129"></a>[pg 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">"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">"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">"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."</p> +</blockquote> + +<hr class="hr2" /> + +<p class="indent"><span class="pagenum"><a name="page130" id="page130"></a>[pg 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 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'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.</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 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's first sentence: "... take a ride with me +in the subway, where we may perhaps glean some impressions for character +portrayal upon the stage."</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 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'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.</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 "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 +<span class="pagenum"><a name="page134" id="page134"></a>[pg 134]</span> +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.</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'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—<i>i.e.</i> +make-up which +<span class="pagenum"><a name="page135" id="page135"></a>[pg 135]</span> +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 +<span class="pagenum"><a name="page136" id="page136"></a>[pg 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—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.</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 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 +"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 +<span class="pagenum"><a name="page138" id="page138"></a>[pg 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 139]</span></p> + +<h2>INDEX</h2> + +<hr class="hr2" /> + +<p class="indent"><span class="pagenum"><a name="page141" id="page141"></a>[pg 141]</span></p> + +<h3>INDEX</h3> + +<div class="poem"> +<div class="stanza"> +<span class="i0">"ALCESTIS", <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">"Art of Being Bored, The", <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">"As You Like It", <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">"Blocking out", <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">"Blue Bird, The", <a href="#page108">108</a></span><br /> +<span class="i0">"Box sets", <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">"Brignol and His Daughter", 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">"CALL BOY", 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">"Chantecler", <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">"Clouds, The", <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">"Comedy of Errors, The", <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">"Costumes and Scenery for Amateurs", <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">"Doctor in Spite of Himself", <a href="#page5">5</a></span><br /> +<span class="i0">"Doll's House, A", <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">"ELECTRA", <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">"FAN, THE", <a href="#page5">5</a></span><br /> +<span class="i0">"Far-away Princess, The", 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 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">"HAMLET", <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">"Importance of Being Earnest, The", <a href="#page3">3</a></span><br /> +<span class="i2">"Blocked out", <a href="#page28">28</a>-34</span><br /> +<span class="i2">Quoted, <a href="#page24">24</a>-28</span><br /> +<span class="i0">"Indian Summer", 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">"Julius Cæsar", 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">"LE BOURGEOIS GENTILHOMME," <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">"Liars, The", <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">"Lysistrata", <a href="#page5">5</a></span><br /> +</div> + +<div class="stanza"> +<span class="i0">MACKAY, CONSTANCE D'ARCY, <a href="#page82">82</a></span><br /> +<span class="i0">"Magistrate, The", <a href="#page4">4</a></span><br /> +<span class="i0">"Man and Superman", <a href="#page4">4</a></span><br /> +<span class="i0">"Marrying of Ann Leete, The", <a href="#page6">6</a></span><br /> +<span class="i0">"Merchant of Venice, The", <a href="#page85">85</a></span><br /> +<span class="i0">"Milestones", <a href="#page109">109</a></span><br /> +<span class="i0">"Minna von Barnhelm", <a href="#page5">5</a></span><br /> +<span class="i0">"Modern Movement in the Theatre, The", <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">"Music Master, The", 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">"Peer Gynt", 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">"Phormio", <a href="#page5">5</a></span><br /> +<span class="i0">Plautus, <a href="#page5">5</a></span><br /> +<span class="i0">Plays, "Cutting", <a href="#page23">23</a></span><br /> +<span class="pagenum"><a name="page143" id="page143"></a>[pg 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">"Rising of the Moon, The", Lighting of, <a href="#page90">90</a></span><br /> +<span class="i0">"Rivals, The", <a href="#page3">3</a>, <a href="#page5">5</a></span><br /> +<span class="i0">"Romancers, The", <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">"Scrap of Paper, A", 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">"Box sets", <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'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">"She Stoops to Conquer", <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 "business", <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 "You Never Can Tell", <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">"Sumurûn", 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 144]</span> +TERENCE, <a href="#page5">5</a></span><br /> +<span class="i0">"Theatre of To-day, The", <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">"Twelfth Night", Settings for, <a href="#page94">94</a>-99, <a href="#page106">106</a></span><br /> +<span class="i0">"Twins, The", <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">"YOU NEVER CAN TELL", <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, "Minna Von Barnhelm" was +replaced with "Minna von Barnhelm".</p> +</div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's How to Produce Amateur Plays, by Barrett H. 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