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diff --git a/39973.txt b/39973.txt new file mode 100644 index 0000000..5b9e3ba --- /dev/null +++ b/39973.txt @@ -0,0 +1,4168 @@ +Project Gutenberg's How to Produce Amateur Plays, by Barrett H. Clark + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: How to Produce Amateur Plays + A Practical Manual + +Author: Barrett H. Clark + +Release Date: June 11, 2012 [EBook #39973] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO PRODUCE AMATEUR PLAYS *** + + + + +Produced by David Starner, Ernest Schaal, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + HOW TO PRODUCE AMATEUR PLAYS + + + + + [Illustration: SETTING FOR A POETIC DRAMA. BY SAM HUME. + (Courtesy of the artist).] + + + + + HOW TO PRODUCE + AMATEUR PLAYS + + _A Practical Manual_ + + BY + + BARRETT H. CLARK + + NEW AND REVISED EDITION + + + [Illustration] + + + BOSTON + LITTLE, BROWN, AND COMPANY + 1923 + + + + + _Copyright, 1917, 1922_, + + BY LITTLE, BROWN, AND COMPANY. + + _All rights reserved_ + + PRINTED IN THE UNITED STATES OF AMERICA + + + + + PREFACE TO THE REVISED EDITION + + +This book aims to supply the demand for a simple guide to the production +of plays by amateurs. During the past decade a number of books dealing +with the subject have been published, but these are concerned either +with theoretical and educational, or else with limited and, from the +practical viewpoint, unessential aspects of the question. In the present +manual the author has attempted an altogether practical work, which may +be used by those who have little or no knowledge of producing plays. + +The book is not altogether limited in its appeal merely to producers; +actors themselves and others having to do with amateur producing will +find it helpful. The author has added a number of suggestions on a +matter which is rapidly becoming of prime importance: the construction +of stages and setting, and the manipulation of lighting. + +It is always well to bear in mind that no art can be taught by means of +books. The chief purpose of this volume is to lay down the elements and +outline the technique of amateur producing. + +A careful study of it will enable the amateur stage manager to do much +for himself which has heretofore been either impossible or attended with +dire difficulty. + +The plan of the book is simple: each question and problem is treated in +its natural order, from the moment an organization decides to "give a +play", until the curtain drops on the last performance of it. + +This new edition of "How to Produce Amateur Plays" has been revised +throughout, and the list of plays in Chapter X completely re-written and +brought up to date. + +The author acknowledges his indebtedness for suggestions and help, as +well as for permission to reproduce diagrams, photographs, and passages +from plays, to Mr. T. R. Edwards, Mr. Hiram Kelly Moderwell, Mr. L. R. +Lewis, Mr. Clayton Hamilton, Miss Grace Griswold, Miss Edith Wynne +Matthison, Mr. Maurice Browne, Miss Ida Treat, Mr. Sam Hume, John Lane +Company, Samuel French, Brentano's, and Henry Holt and Company. + + MARCH, 1922 + + + + + CONTENTS + + + CHAPTER PAGE + + PREFACE v + + I CHOOSING THE PLAY 1 + + II ORGANIZATION 8 + + III CHOOSING THE CAST 18 + + IV REHEARSING I 22 + + V REHEARSING II 48 + + VI REHEARSING III 73 + + VII THE STAGE 76 + + VIII LIGHTING 86 + + IX SCENERY AND COSTUMES 91 + + X SELECTIVE LISTS OF AMATEUR PLAYS 110 + + + APPENDICES + + I COPYRIGHT AND ROYALTY 127 + + II A NOTE ON MAKE-UP 130 + + INDEX 139 + + + + + LIST OF ILLUSTRATIONS + + + SETTING FOR A POETIC DRAMA, BY SAM HUME _Frontispiece_ + + PAGE + + "THE GROTESQUES", BY CLOYD HEAD. PRODUCED + AT THE LITTLE THEATER, CHICAGO 8 + + "THE TROJAN WOMEN" OF EURIPIDES. PRODUCED + AT THE LITTLE THEATER, CHICAGO 18 + + "CAPTAIN BRASSBOUND'S CONVERSION", BY SHAW. + SET OF ACT I, AS PRODUCED BY THE NEIGHBORHOOD + PLAYHOUSE, NEW YORK 22 + + SET FOR MUSSET'S "WHIMS." PRODUCED BY THE + WASHINGTON SQUARE PLAYERS 48 + + "SISTER BEATRICE" OF MAETERLINCK. PRODUCED + AT THE WESTERN RESERVE COLLEGE FOR + WOMEN 74 + + TWO VIEWS OF THE STAGE AT TUFTS COLLEGE, + SHOWING PLENTY OF OPEN SPACE FOR THE + STORING AND SHIFTING OF SCENERY 76 + + AN ORDINARY BOX-SET. FROM DUMAS _FILS'_ "THE + MONEY QUESTION." PRODUCED AT TUFTS + COLLEGE 80 + + SCENES FROM EURIPIDES' "ELECTRA." PRODUCED + AT ILLINOIS STATE COLLEGE 90 + + TWO VIEWS OF THE STAGE AT THE UNIVERSITY OF + NORTH DAKOTA 106 + + + + + HOW TO PRODUCE AMATEUR + PLAYS + + + CHAPTER I + + CHOOSING THE PLAY + + +The first important question arising after the decision to give a play, +is "What play?" Only too often is this question answered in a haphazard +way. Of recent years a large number of guides to selecting plays have +made their appearance, most of which are incomplete and otherwise +unsatisfactory. The large lists issued by play publishers are +bewildering. Toward the end of the present volume is a selective list of +plays, all of which are, in one way or another, "worth while"; but as +conditions differ so widely, it is practically impossible to do +otherwise than merely indicate in a general way what sort of play is +suggested. + +Each play considered by any organization should be read by the director +or even the whole club or cast, after the requisite conditions have been +considered. These conditions usually are: + +1. =Size of the Cast.= This is obviously a simple matter: a cast of ten +cannot play Shakespeare. + +2. =Ability of the Cast.= This is a little more difficult. While it is a +laudable ambition to produce Ibsen, let us say, no high-school students +are sufficiently mature or skilled to produce "A Doll's House." As a +rule, the well-known classics--Shakespeare, Moliere, Goldoni, Sheridan, +Goldsmith--suffer much less from inadequate acting and production than +do modern dramatists. The opinion of an expert, or at least of some one +who has had experience in coaching amateur plays, should be sought and +acted upon. If, for example, "As You Like It" is under consideration, it +must be borne in mind that the role of Rosalind requires delicate and +subtle acting, and if no suitable woman can be found for that part, a +simpler play, like "The Comedy of Errors", had much better be +substituted. Modern plays are on the whole more difficult: the portrayal +of a modern character calls for greater variety, maturity, and skill +than the average amateur possesses. The characters in Moliere's "Le +Bourgeois Gentilhomme" ("The Merchant Gentleman"), Shakespeare's "The +Comedy of Errors", Sheridan's "The Rivals", are more or less well-known +types, and acting of a conventional and imitative kind is better suited +to them. On the other hand, only the best-trained amateurs are able to +impart the needful appearance of life and actuality to a play like Henry +Arthur Jones's "The Liars." Still, there are many modern plays--among +them, Shaw's "You Never Can Tell" and Wilde's "The Importance of Being +Earnest"--in which no great subtlety of characterization is called for. +These can be produced as easily by amateurs as can Shakespeare and +Sheridan. + +3. =The Kind of Play= to be presented usually raises many questions +which are entirely without the scope of purely dramatic considerations. +In this country especially, there is a studied avoidance among schools +and often among colleges and universities, of so-called "unpleasant +plays." Without entering into the reasons for this aversion, it is +rather fortunate, because as a general rule, "thesis", "sex", and +"problem" plays are full of pitfalls for amateur actors and producers. + +While it is a splendid thing to believe no play too good for amateurs, +some moderation is necessary where a play under consideration is +obviously beyond the ability of a cast: "Hamlet" ought never to be +attempted by amateurs, nor such subtle and otherwise difficult plays as +"Man and Superman." Plays of the highest merit can be found which are +not so taxing as these. There is no reason why Sophocles' "Electra", +Euripides' "Alcestis", or the comedies of Lope de Vega, Goldoni, +Moliere, Kotzebue, Lessing, not to mention the better-known English +classics, should not be performed by amateurs. + +It goes without saying that the facile, trashy, "popular" comedies of +the past two or three generations are to be avoided by amateurs who take +their work seriously. This does not mean that all farces and comedies +should be left out of the repertory: "The Magistrate" and "The +Importance of Being Earnest" are among the finest farces in the +language. The point to be impressed is that it is better to attempt a +play which may be more difficult to perform than "Charley's Aunt", than +to give a good performance of that oft-acted and decidedly hackneyed +piece. It is much more meritorious to produce a good play poorly, if +need be, than a poor play well. + +If, after having consulted the list in this volume and similar other +lists, the club is still unable to decide on a suitable modern play, the +best course is to return to the classics. It is likely that the plays +that have pleased audiences for centuries will please us. Aristophanes' +"The Clouds" and "Lysistrata", with a few necessary "cuts"; Plautus' +"The Twins" and Terence's "Phormio"; Goldoni's "The Fan"; Shakespeare's +"Comedy of Errors" and half a dozen other comedies; Moliere's "Merchant +Gentleman" and "Doctor in Spite of Himself"; Sheridan's "The Rivals" and +Goldsmith's "She Stoops to Conquer"; Lessing's "Minna von +Barnhelm"--almost any one of these is "safe." A classic can never be +seen too often and, since true amateurs are those who play for the joy +of playing, they will receive ample recompense for their efforts in the +thought that they have at least added their mite to the sum total of +true enjoyment in the theater. Another argument in favor of the +performance of the classics is that they are rarely produced by +professionals. If an amateur club revives a classic, especially one +which is not often seen nowadays, it may well be proud of its efforts. + +If, however, the club insists on giving a modern play, it will have +little difficulty in finding suitable material. It is well not to +challenge comparison with professional productions by choosing plays +which have had professional runs of late; try rather to select (1) good +modern plays which by reason of their subject matter, form, etc., cannot +under present conditions be commercially successful (like Granville +Barker's "The Marrying of Ann Leete"); (2) translations of contemporary +foreign plays which are not well known either to American readers or +producers; and, finally (3) original plays. Here it is difficult to +advise. It cannot be hoped that an amateur club will discover many +masterpieces among original plays submitted to it, but if any of the +works considered has even a touch of originality, some good +characterization, any marked technical skill; in a word, if there is +something interesting or promising, then it is worth producing. +Doubtless many beginners are discouraged from writing plays for lack of +experience gained by seeing their work staged; for such, the amateur +club is the only resource. + +Besides these particular considerations, there remain the minor but +necessary points relating to rights and royalties. A full statement of +the legal aspect of the case is to be found in the first appendix in +this book. + + + + +[Illustration: "THE GROTESQUES", BY CLOYD HEAD. PRODUCED AT THE LITTLE +THEATER, CHICAGO + +A shallow cyclorama. The simple design forms an effective background for +the grouping of the figures. + +(Courtesy of Maurice Browne).] + + + + + CHAPTER II + + ORGANIZATION + + +A great many more factors go into the making of a successful dramatic +production than may at first be apparent. To organize a staff whose duty +it is to furnish and equip a theater, hall, or schoolroom; to arrange +and efficiently run rehearsals; to supply "props", costumes, and +furniture; to manage the stage during the performance--all this is next +in importance to the acting itself. + +Of late years especially it has been made clear that the art of the +theater, although it is a collaboration of the brains and hands of many +persons, must be under the supervision of one dominating and far-seeing +chief. That is to say, one person and one alone must be responsible for +the entire production. Except in rare instances this head cannot know of +and attend to each detail himself, but it is his business to see that +the whole organization is formed and managed according to his wishes. +The function of this ideal manager has been compared with that of the +orchestral conductor: it is he who leads, and he should be the first to +detect the slightest discord. While the foregoing remarks are more +strictly applicable to acting and staging, it will readily be seen that +if the same leader is not in touch with the more practical side of the +production, there is likely to arise that working at cross-purposes +which has ruined many an amateur as well as professional production. +While a great deal of the actual work must be done by subordinates, it +should be clearly understood that the director has the final word of +authority. + +Much in the matter of organization depends upon the number and ability +and experience of those persons who are available, but the suggestions +about to be made as to the organization of a staff are based upon the +assumption that the director is a capable person, and his assistants at +least willing to learn from him. As a rule, he will have plenty of +material to work with. + +=The Director.= The producer, the head under whose guidance the entire +work of rehearsing and organization should lie, is called the director. +However, since this position is often held by a hired coach or by some +one else who cannot be expected to attend to much outside the actual +rehearsing, there must be elected or appointed an officer who is +directly responsible. This officer is: + +=The Stage Manager.= As the director cannot always be present at every +rehearsal, and as oftentimes two parts of the play are rehearsed +simultaneously, it is evident that another director must be ready to +act in place of the head. It is chiefly his duty to "hold" the +prompt-book and keep a careful record of all stage business, "cuts", +etc. At every rehearsal he must be ready to prompt, either lines or +"business"--action, gestures, crosses, entrances, exits, and the +like--and call the attention of the director to omissions or mistakes of +every sort. In the event of the director's absence, he becomes the pro +tem. director himself. + +It is advisable--though not always possible--to delegate the duties of +property man, lightman, curtain man, costume man (or wardrobe mistress) +to different persons; but even when this is done, it is better for the +stage manager to keep a record of all "property plots", "light plots", +"furniture plots", etc. + +It is also the stage manager's business to arrange the time and place of +rehearsals, and hold each actor responsible for attendance. + +On the occasion of the dress rehearsal and of the actual production, it +is the stage manager, and not the director, who supervises everything. +His position is that of commander-in-chief. He either holds the book, or +is at least close by the person who actually follows the lines; sees +that each actor is ready for his entrance; that the curtain rises and +falls when it should; that his assistants are each in their respective +places; and that the entire performance "goes" as it is intended to go. + +=The Business Manager.= This person attends to such matters as renting +the theater--or arranging some place for the performance--printing and +distributing tickets; in short, everything connected with the receipt +and expenditure of money. It is not of course imperative that he should +have much to do with the director; the only point to be borne in mind +being that every one connected with the production of a play should be +in touch with those in authority. The business manager ought to have at +least a preliminary conference with the director, and report to him +every week until a few days before the performance, when he should be +within instant call in case of emergency. The property, light, +furniture, and costume people must naturally keep in close touch with +him, although no purchases should be made without the permission of the +director, who in this case must be at one with the club or organization. + +=The Property Man.= The duties attaching to this position are definitely +and necessarily limited, but of great importance. Working under the +stage manager, he supplies all the objects--such as revolvers, swords, +letters, etc.--in a word, everything actually _used_ by the actors, and +not falling under the categories of "scenery", "costumes", and +"furniture." + +It will be found necessary in some cases to add to the staff one person +whose business it is to attend to the matter of furnishings: rugs, +hangings, pictures, furniture, and so forth; but in case there is no +such person, the property man attends to these details himself. + +It cannot be too strongly urged that from the very first as many +"props", as much furniture or as many set pieces as possible (depending +on whether the set is an indoor or outdoor one), should be used by the +actors. In this way they will be better able to associate their +thoughts, words, and gestures with the material objects with which they +will be surrounded on the fatal night. If this is impracticable, that +is, if most of these objects cannot be secured from the first, then at +least suitable substitutes should be used. The presence of such +fundamentally important articles as the wall in Rostand's "The +Romancers", and the dentist's chair in Shaw's "You Never Can Tell", when +used from the first rehearsals, always minimizes the danger of confusion +of lines or business at the last moment. + +The property man must keep a list of everything required; this should be +a duplicate of that in the possession of the stage manager. + +=The Lightman.= Sometimes even nowadays called the "Gasman." He is not +indispensable, because almost always the regular electrician attends to +the switchboard. However, some one should be with the electrician at the +dress rehearsal and on the evening of the performance to give him the +necessary light cues. Usually, however, the stage manager who holds the +prompt-book where all the light cues are indicated can fulfill this +function. + +=The Costume Man= (or =Wardrobe Mistress=, as the case may be). Again +the duties are simple. If the play is a classic--Shakespeare, for +instance,--the costumes, in ninety-nine cases out of a hundred, had +better be rented from a regular costumer. The costume man, then, +together with the business manager, attends to the details of renting, +and sees that all costumes are ready for the dress rehearsal. If the +costumes are made to order, the matter is supervised by the costume man. +But, as with everything else connected with the best amateur efforts, +there should be some expert adviser, not so much one versed in history +and archeology as an artist with an eye for color and style. The +director in any event must be consulted, so that lights, scenery, and +costumes may harmonize. Details as to costumes are to be found in many +books, and need not here be discussed. In spite of a good deal that has +been written to the contrary, historical accuracy is not of vast +importance: so long as there are no glaring anachronisms, Shakespeare +may be presented with actors wearing pre- or post-Elizabethan costumes, +provided they are beautiful, and harmonize. + +Among the thousand and one minor details of producing, there are some +which in large productions might be assigned to specially appointed +individuals, but most of the duties to be briefly enumerated below may +easily be given over to the stage manager, property man, or costume man, +or even to the lightman. + +_Handling and Setting of Scenery and Furniture._ This is usually taken +care of by the property man and his assistants, under the direction of +the stage manager. As in every other branch of the work, all details +must be planned beforehand, and recorded. + +_Music._ The music cues should be marked in the stage manager's +prompt-book. Incidental music, whether it be on, behind, or off-stage in +the orchestra pit, ought to be rehearsed at least two or three times. On +the occasion of the performance, the stage manager gives directions from +his prompt-book for all music cues. + +_Crowds or Large Groups._ The management and rehearsing of crowds or +large groups is considered under "Rehearsing" (p. 58). Here it will +suffice to state that it is well to have an assistant whose duty it is +to see that the "supes" [supernumeraries] are conducted on and off the +stage at the right time. + +Among the further details which must be looked after are the duties +which are sometimes left to the stage manager: the ringing of bells, +calling of actors at the regular performance, etc. A "call boy" may be +delegated to do this. + +_Understudies._ Trouble is always likely to arise, especially among +amateurs, because there is no effective method of holding the actors to +strict account. Often, one or more of the cast finds, or thinks he +finds, good reason for leaving it, and a new actor must sometimes be +found and trained to fill the vacancy on perilously short notice. +Sickness or indisposition invariably give rise to the same problem. If +possible, an entire second cast should be trained, so that any member of +it could at a moment's notice be called upon to play in the first cast. +While this second company should be letter-perfect and know the +"business" in every detail, it is not necessary that their acting be so +finished and detailed as that of the others. Understudy rehearsals are +under the direction of the stage manager, although the director should +witness at least two or three. + +Since the performance depends almost wholly on the knowledge, sympathy, +and taste of the director, the greatest care should be taken in choosing +him. Needless to say, the ideal director does not exist; still, his +attributes should be constantly borne in mind. If he lacks the artist's +sense of color, rhythm, and proportion, then an art adviser must be +called in to suggest color schemes as regards costumes, scenery, +furniture, and lighting. Nowadays, great attention is being paid to +these matters, and the subtle effect of background and detail is much +greater than is commonly supposed. The play is of first importance--that +must never be forgotten--but these other matters are too often +neglected. + +Similarly with costumes, music, scenery, it is never amiss to consult +authorities. But once more be it repeated, the whole production should +bear the imprint of the director's personality, because only in this way +can we hope for that essential unity of effect which is a basic +principle of all art. + +Cooperation with, but, in the last analysis, subserviency to, the +director, is the keynote of success. + + + + +[Illustration: "THE TROJAN WOMEN", OF EURIPIDES. PRODUCED AT THE LITTLE +THEATER, CHICAGO. + +Effective grouping against a simple background. (Courtesy of Maurice +Browne).] + + + + + CHAPTER III + + CHOOSING THE CAST + + +Obviously, the choice of the cast should depend upon the ability of the +actors, although in the case of an organization like a school or college +dramatic club, this system is not always practicable or even advisable. +Every member of such a club should be trained to work for a common end, +and a system by which amateurs are made to understand the necessity of +assuming first small and unimportant roles and working up gradually to +the greater and more important ones, makes for harmony and completeness +of effect in performances. It should be one of the chief ends of amateur +producing to get away from the curse of the professional stage: the star +system. It has been stated here that the greatest emphasis must be laid +on the play itself, and no actor, professional or amateur, should ever +labor under the delusion that he is of greater or even as great +importance as the play in which he strives to act his part. The average +actor is inclined to judge a play's merit according to the sort of part +it furnishes him; the amateur spirit has done much to do away with this +attitude, and it is to be hoped that no coach will ever do otherwise +than discourage it. + +Competition as a means of selecting a cast is in most cases the best +method. The play once selected, the people from among whom the cast is +to be formed are assembled. It is a good plan to have every one read the +play first, and make a study of at least one scene of it. Then, either +alone or in company with one, two, or three others, he reads--or recites +from memory--the scene in question, either before the entire club or +before a committee of judges. Each actor is judged on appearance, ease, +voice, and insight into the character he is portraying. The judges, +seconded possibly by the members of the club (whose votes should, by the +way, be of only secondary importance), then select those whom they +consider best fitted for the parts. In every case the director should +give final sanction to the selection. + +In cases where members must at first assume only minor parts because of +club rules, there may arise some difficulty: for example, a beginner may +be better fitted to assume an important role than older club members. +Such cases must of course be dealt with individually. + +In organizations which are not run on so democratic a basis, the +director selects the cast himself. On the whole, this is much the best +system, as the director is left a free field in which to work out his +own problems in his own way. If it is at all possible, an amateur club +ought to put everything, including the responsibility, into the hands of +a competent director. In this respect, the despotism of the professional +stage is most beneficial. Whether the coach be an outsider hired for the +occasion, or a regular member of the club, in nine cases out of ten he +will establish and maintain harmony, allow no real talent to languish, +and be at least in a position to produce definite artistic results. +Amateur management has spoiled much good material. A director with full +authority can work more easily and efficiently if left to his own +devices than if trammeled with rules and regulations. + +The theater, behind the scenes, is a despotic institution; it must be, +but the greatest care must be taken in choosing the right despot. Should +the coach be a professional manager or actor, or should he be an +amateur? The question is a difficult one. There are, it goes without +saying, many excellent directors who are or have been professionals; on +the other hand, it cannot be denied that some of the best amateur work +in this country has been done by directors whose experience on the +professional stage has, to say the least, been limited. Some such +training is beneficial, but to put a professional of many years' +experience in charge of amateurs is likely to make of the amateurs a +company of puppets imitating only some of the externals of +professionaldom. The best director, therefore, seems to be a person who +has some professional experience, but who has likewise dealt with +amateurs; one who enters into the amateur spirit, and understands its +difference from the professional world, and does not try to train his +company to imitate stock actors or "stars." + +Understudies may be chosen in the same manner as the first cast. + +After the choosing of the casts, the next step is rehearsing. To this +complicated process the next three chapters are devoted. + + + + +[Illustration: "CAPTAIN BRASSBOUND'S CONVERSION", BY SHAW. SET OF ACT I, +AS PRODUCED BY THE NEIGHBORHOOD PLAYHOUSE, NEW YORK. + +(Photo by White. Courtesy of Neighborhood Playhouse).] + + + + + CHAPTER IV + + REHEARSING + + + I + +The first rehearsal should be "called" as soon as possible after the +cast has been selected and a place chosen in which to work. If the play +is to be performed in a regular theater, it is wise to block out the +general action and have at least the first two or three rehearsals on +the stage. It would be still better if all the rehearsals could be +conducted there, but as this is seldom possible, the stage manager +should take its dimensions and secure some room as near the size of the +stage as he can find. A room too large or too small, or not the +requisite shape, is more than likely to confuse the actors. As many of +the essential "props" and articles of furniture as possible should be +used from the very first, in order to accustom the actors to work under +approximately the same conditions as on the occasion of the performance. + +If the play can be secured in printed form, each actor will have his +copy, and a general reading to the cast by the director or stage manager +be rendered unnecessary. However, a few remarks by him as to the nature +and spirit of the play will not be amiss. It is not uncommon to hear of +professionals who have never read or seen the entire play even after +acting in it for many months. Unless each actor knows and feels what the +play is about and enters into its spirit, there can be little chance for +unity and harmony. + +"Cutting", or other alteration, is often necessary. The director should +read his alterations and allow each actor to make his text conform with +the prompt-copy. + +When the play is not obtainable in book form, each role is then copied +from the manuscript, together with the "cues" and all the stage +business. In this case, a general reading to the cast is imperative. + +The preliminaries disposed of, the play is _read_, each actor taking his +part. This is merely to familiarize the actors with the play and show +them briefly their relation to each other and the work as a whole. At +this first rehearsal, there should be no attempt at acting; that is +reserved for the next meeting. + +At the second rehearsal[1]--which should take place the day after the +first--the director blocks out the action. If the play be a full-length +one (approximately two hours) then one act of this general blocking out +will be found to occupy all the time. If the play is in a single act, +and provided it be not too long, then the entire play may be blocked + out. + + [1] The system here followed must of necessity be arbitrary, but + the principle is easy to grasp. A great deal depends on the + ability of the actors and the time they can afford. + +What is "blocking out"? Let us take an easy example and block out the +first few minutes' of Wilde's "The Importance of Being Earnest."[2] Here +follows the text of the first two and a half pages: + + [2] Editions published by French, Putnam, Luce, Nichols, and + Baker. + + _Scene--Morning-room in Algernon's flat in Half Moon Street. The + room is luxuriously and artistically furnished. The sound of a + piano is heard in the adjoining room._ + + [LANE _is arranging afternoon tea on the table, and after the + music has ceased_, ALGERNON _enters_.] + + ALGERNON. Did you hear what I was playing, Lane? + + LANE. I didn't think it polite to listen, sir. + + ALGERNON. I'm sorry for that, for your sake. I don't play + accurately--any one can play accurately--but I play with + wonderful expression. As far as the piano is concerned, + sentiment is my forte. I keep science for Life. + + LANE. Yes, sir. + + ALGERNON. And, speaking of the science of Life, have you got the + cucumber sandwiches cut for Lady Bracknell? + + LANE. Yes, sir. [_He hands them on a salver._] + + ALGERNON. [_Inspects them, takes two, and sits down on the + sofa._] Oh! ... by the way, Lane, I see from your book that on + Thursday night, when Lord Shoreman and Mr. Worthing were dining + with me, eight bottles of champagne are entered as having been + consumed. + + LANE. Yes, sir, eight bottles and a pint. + + ALGERNON. Why is it that at a bachelor's establishment the + servants invariably drink the champagne? I ask merely for + information. + + LANE. I attribute it to the superior quality of the wine, sir. I + have often observed that in married households the champagne is + rarely of a first-rate brand. + + ALGERNON. Good Heavens! Is marriage so demoralizing as that? + + LANE. I believe it _is_ a very pleasant state, sir. I have had + very little experience of it myself up to the present. I have + only been married once. That was in consequence of a + misunderstanding between myself and a young person. + + ALGERNON. [_Languidly._] I don't know that I am much interested + in your family life, Lane. + + LANE. No, sir; it is not a very interesting subject. I never + think of it myself. + + ALGERNON. Very natural, I am sure. That will do, Lane, thank + you. + + LANE. Thank you, sir. [LANE _goes out_.] + + ALGERNON. Lane's views on marriage seem somewhat lax. Really, if + the lower orders don't set us a good example, what on earth is + the use of them? They seem, as a class, to have absolutely no + sense of moral responsibility. [_Enter_ LANE.] + + LANE. Mr. Ernest Worthing. [_Enter_ JACK. LANE _goes out_.] + + ALGERNON. How are you, my dear Ernest? What brings you up to + town? + + JACK. Oh, pleasure, pleasure! What else should bring me + anywhere? Eating as usual, I see, Algy? + + ALGERNON. [_Stiffly._] I believe it is customary in good society + to take some slight refreshment at five o'clock. Where have you + been since last Thursday? + + JACK. [_Sitting down on the sofa._] In the country. + + ALGERNON. What on earth do you do there? + + JACK. [_Pulling off his gloves._] When one is in town one amuses + oneself. When one is in the country one amuses other people. It + is excessively boring. + + ALGERNON. And who are the people you amuse? + + JACK. [_Airily._] Oh, neighbors, neighbors. + + ALGERNON. Got nice neighbors in your part of Shropshire? + + JACK. Perfectly horrid! Never speak to one of them. + + ALGERNON. How immensely you must amuse them! (_Goes over and + takes sandwich._) By the way, Shropshire is your county, is it + not? + + JACK. Eh? Shropshire? Yes, of course. Hallo! Why all these cups? + Why such extravagance in one so young? Who is coming to tea? + +The first point to be noticed is that the stage directions are not +sufficient. To begin with, the only information we have as to the +morning-room is that it is in Algernon Moncrieff's flat in Half Moon +Street, and that it is "_luxuriously and artistically furnished_." The +next directions--"LANE _is arranging tea on a table_"--prove that there +_is_ a tea-table with tea things on it. We are therefore dependent on +the ensuing dialogue and the implied or briefly described action to +furnish clues as to the entrances, furniture, and "props" which will be +required in the course of the act. It is, of course, the director's and +the stage manager's business to go through the play beforehand, and have +all these points well in mind. Let us now see how this is done, and +proceed to block out the first part of the play. + +The room evidently at least has two doors: one leading into the +hallway--up-stage Center--the other halfway down-stage Right,[3] let us +say for the present, as in the diagram: + + [Illustration] + + [3] Right and Left in stage directions mean from the actors' + point of view. Up-stage and down-stage mean respectively away + from and toward the footlights. + +Before Algernon's entrance, Lane, the butler, is preparing tea. Where is +the table? Some subsequent business may necessitate its being in a +position different from the one first chosen, but let us assume that it +is up-stage to the right: + + [Illustration] + +There it is not likely to be in the way of the actors; furthermore, it +is not on the same side of the stage as the sofa--which is the next +article of furniture to be placed. If the table and the sofa and the +door were all on the same side of the stage, it would be much too +crowded, especially as the larger part of the subsequent action revolves +about them. + +Lane, then, is busied with the tea things for a moment, as and after the +curtain rises. Then the music of a piano is heard off-stage to the +right. It stops, and a moment later Algernon enters. As he evidently has +nothing in particular to do at that moment, he may stand at the center +of the stage, facing Lane, who stops his work and respectfully answers +his master's questions. When Algernon says: "And, speaking of the +science of Life, have you got the cucumber sandwiches cut for Lady +Bracknell?", what more natural than that he should look in the direction +of the table, and perhaps even make a step toward it? Lane then goes to +the table, takes up the salver with the sandwiches on it, and hands it +to Algernon. Here there are no other directions than _"Hands them on +salver_." The other "business" is inferred from the dialogue. Algernon +then "_Inspects them, takes two, and sits down on the sofa_." + +This is the first reference to the sofa. The original prompt-copy must, +of course, have made clear exactly where each article of furniture +stood, but, for the reasons above enumerated, let us place the sofa as +in the diagram: + + [Illustration] + +Notice now that nothing is said of the salver. But from the direction +near the top of page 3--(Luce and Baker editions) "_Goes over and takes +sandwich_"--we may assume that Lane takes the salver back to the table. +Undoubtedly, he does this as Algernon sits on the sofa. This stage +direction should be indicated in the prompt-copy, as well as in that of +the actor playing Lane, as follows: + + [Illustration] + +As soon as Lane has done this, or even before, Algernon resumes his +conversation, while Lane turns and listens to him. Lane stands somewhere +between the table and the sofa, at a respectful distance from Algernon. +The next "business" occurs when Algernon says "That will do, Lane, thank +you", and Lane replies "Thank you, sir", and goes out. This brings up +another question which is not answered, as yet at least, in the text. +Does Lane go out Right? Possibly; or is there another entrance Left, +leading to the butler's room? So far as we are able to determine, there +is no good reason why the room to the right, where Algernon was playing, +should not lead to the butler's room, or to wherever he is supposed to +go. And in this case, there is no reason why Lane cannot, during +Algernon's soliloquy, have heard the doorbell ring, answered it, and +been ready to reenter, announcing, as he does: "Mr. Ernest Worthing." +Jack then enters, Right. Although again there is no stage direction, it +is likely that Algernon rises to greet his friend and shake hands with +him. + +Once more, the stage directions, or rather the want of them, are apt to +confuse. On the top of page 3, we read that Jack pulls "_off his +gloves_." He wears a hat, of course, and probably a coat. He carries his +hat in his hand, but presumably still wears his coat, and certainly his +gloves. Lane, before he leaves, would undoubtedly take Jack's hat, help +him off with his coat, and take them out with him. Then, before the two +men shake hands--if they do--Jack pulls off his gloves. Jack's line, +"Eating as usual, I see, Algy," is sufficient indication to prove that +in one hand Algernon holds a sandwich. Algernon then sits down. The +dramatist would surely have mentioned Jack's sitting down if that had +been his intention; therefore Jack may stand. Now comes the direction +about Jack's "Pulling off his gloves." What does he do with them? For +the present, at least, let us allow him to go to the tea table, and lay +them on it. A moment later, Algernon "_Goes over and takes sandwich_." +He stands by the table, eating, and this attracts Jack's attention to +the somewhat elaborate preparations for tea. Algernon then says: "By the +way, Shropshire is your county, is it not?" But Jack, too engrossed in +the preparations, scarcely hears the other, and answers: "Eh? +Shropshire? Yes, of course," and so on. Then he evidently goes to the +tea table. + +This is the general method of attack to be pursued. It may be that later +in the same scene it will be necessary to go back and undo some of the +"business", because the only available text of this play--and this is +almost always true of printed plays--is not in prompt-copy form. The +making, therefore, of a prompt-copy is a slow process. First, the +director goes through the play and plans in a general way what the +action is to be, but only by rehearsing his cast on a particular stage +and under specific conditions, is he able to know every detail of the +action. By the time the actors are letter-perfect, the prompt-copy ought +likewise to be fairly perfect. It is always dangerous to change +"business" after the actors have memorized their parts. + +During this preliminary blocking-out process, little or no attention +need be paid to details: the mere outlining of the action, together with +the reading of the lines by the actors, is sufficient. + +Sometimes printed plays suffer from too many stage directions, and +occasionally even the careful Bernard Shaw, as the following extract +will prove, is far from clear. Here are the opening pages of "You Never +Can Tell":[4] + + [4] Published separately by Brentano's. + + _In a dentist's operating room on a fine August morning in 1896. + Not the usual tiny London den, but the best sitting-room of a + furnished lodging in a terrace on the sea front at a fashionable + watering place. The operating chair, with a gas pump and + cylinder beside it, is half way between the center of the room + and one of the corners. If you look into the room through the + window which lights it, you will see the fireplace in the middle + of the wall opposite you, with the door beside it to your left; + an M.R.C.S. diploma in a frame hung on the chimneypiece; an easy + chair covered in black leather on the hearth; a neat stool and + bench, with vice, tools, and a mortar and pestle in the corner + to the right. Near this bench stands a slender machine like a + whip provided with a stand, a pedal, and an exaggerated winch. + Recognizing this as a dental drill, you shudder and look away to + your left, where you can see another window, underneath which + stands a writing table, with a blotter and a diary on it, and a + chair. Next the writing table, towards the door, is a leather + covered sofa. The opposite wall, close on your right, is + occupied mostly by a bookcase. The operating chair is under your + nose, facing you, with the cabinet of instruments handy to it on + your left._ _You observe that the professional furniture and + apparatus are new, and that the wall paper, designed, with the + taste of an undertaker, in festoons and urns, the carpet with + its symmetrical plans of rich, cabbagy nosegays, the glass + gasalier with lustres, the ornamental, gilt-rimmed blue + candlesticks on the ends of the mantelshelf, also glass-draped + with lustres, and the ormolu clock under a glass cover in the + middle between them, its uselessness emphasized by a cheap + American clock disrespectfully placed beside it and now + indicating 12 o'clock noon, all combine with the black marble + which gives the fireplace the air of a miniature family vault, + to suggest early Victorian commercial respectability, belief in + money, Bible fetichism, fear of hell always at war with fear of + poverty, instinctive horror of the passionate character of art, + love and the Roman Catholic religion, and all the first fruits + of plutocracy in the early generations of the industrial + revolution._ + + _There is no shadow of this on the two persons who are occupying + the room just now. One of them, a very pretty woman in + miniature, her tiny figure dressed with the daintiest gaiety, is + of a later generation, being hardly eighteen yet. This darling + little creature clearly does not belong_ _to the room, or even + to the country; for her complexion, though very delicate, has + been burnt biscuit color by some warmer sun than England's; and + yet there is, for a very subtle observer, a link between them. + For she has a glass of water in her hand, and a rapidly clearing + cloud of spartan obstinacy on her tiny firm mouth and quaintly + squared eyebrows. If the least line of conscience could be + traced between those eyebrows, an Evangelical might cherish some + faint hope of finding her a sheep in wolf's clothing--for her + frock is recklessly pretty--but as the cloud vanishes it leaves + her frontal sinus as smoothly free from conviction of sin as a + kitten's._ + + _The dentist, contemplating her with the self-satisfaction of a + successful operator, is a young man of thirty or thereabouts. He + does not give the impression of being much of a workman: his + professional manner evidently strikes him as being a joke; and + it is underlain by a thoughtless pleasantry which betrays the + young gentleman still unsettled and in search of amusing + adventures, behind the newly set-up dentist in search of + patients. He is not without gravity of demeanor; but the + strained nostrils stamp it as the gravity of the humorist. His + eyes are clear,_ _alert, of sceptically moderate size, and yet a + little rash; his forehead is an excellent one, with plenty of + room behind it; his nose and chin cavalierly handsome. On the + whole, an attractive, noticeable beginner, of whose prospects a + man of business might form a tolerably favorable estimate._ + + THE YOUNG LADY (_handing him the glass_). Thank you. (_In spite + of the biscuit complexion she has not the slightest foreign + accent._) + + THE DENTIST (_putting it down on the ledge of his cabinet of + instruments_). That was my first tooth. + + THE YOUNG LADY (_aghast_). Your first! Do you mean to say that + you began practising on me? + + THE DENTIST. Every dentist has to begin on somebody. + + THE YOUNG LADY. Yes: somebody in a hospital, not people who pay. + + THE DENTIST (_laughing_). Oh, the hospital doesn't count. I only + meant my first tooth in private practice. Why didn't you let me + give you gas? + + THE YOUNG LADY. Because you said it would be five shillings + extra. + + THE DENTIST (_shocked_). Oh, don't say that. It makes me feel as + if I had hurt you for the sake of five shillings. + + THE YOUNG LADY (_with cool insolence_). Well, so you have! (_She + gets up._) Why shouldn't you? it's your business to hurt people. + (_It amuses him to be treated in this fashion; he chuckles + secretly as he proceeds to clean and replace his instruments. + She shakes her dress into order, looks inquisitively about her; + and goes to the window._) You have a good view of the sea from + these rooms! Are they expensive? + + THE DENTIST. Yes. + + THE YOUNG LADY. You don't own the whole house, do you? + + THE DENTIST. No. + + THE YOUNG LADY (_taking the chair which stands at the writing + table and looking critically at it as she spins it round on one + leg_). Your furniture isn't quite the latest thing, is it? + + THE DENTIST. It's my landlord's. + + THE YOUNG LADY. Does he own that nice comfortable Bath chair? + (_pointing to the operating chair_). + + THE DENTIST. No: I have that on the hire-purchase system. + + THE YOUNG LADY (_disparagingly_). I thought so. (_Looking about + her again in search of further conclusion._) I suppose you + haven't been here long? + + THE DENTIST. Six weeks. Is there anything else you would like to + know? + + THE YOUNG LADY (_the hint quite lost on her_). Any family? + + +Shaw's stage directions here are more than sufficient: they are intended +not only for the director, stage manager, property man, scene painter, +and actor, but for the reader as well. His directions are always +stimulating and suggestive, and should be studied by the actors; but, +from the point of view of the director and stage manager, they are +bewilderingly diffuse and sometimes confusing. The fact, for instance, +that the action takes place precisely in 1896, can be of little interest +to the manager. Nor can a clock indicate twelve o'clock "noon." In such +stage directions as these the director will therefore have to separate +the purely mechanical elements from the literary and atmospheric. Let us +now apply ourselves to the rather difficult task of making a diagram of +the stage and its settings. + +It is a "fine August morning." The sun is shining out-of-doors and, as +the room looks out over the sea, the stage must be lighted through one +of the windows. The dramatist goes on to say that the room is "_Not the +usual tiny London den, but the best sitting room of a furnished +lodging._" By inference, it is a large room. The operating chair is +"_half way between the center of the room and one of the corners_." +Which corner is not designated. Let us try to plot out the stage on the +assumption that we are looking at it through a window halfway down-stage +on the left (the actor's left, of course). The window which lights the +room is placed thus: + + [Illustration] + +Looking through this window, "_you will see the fireplace in the middle +of the wall opposite you, with the door beside it to your left_": + + [Illustration] + +The next article of furniture mentioned is the easy chair "_on the +hearth_": + + [Illustration] + +Then come "_a neat stool and bench_" and, near them, a dental drill: + + [Illustration] + +"_Near it_" is not definite, but for the time being, let us allow it to +stand up-stage near the stool and bench, but a little toward Center. +Next, you "_look away to your left, where you can see another window_." +The direction here is not practicable, but the window may well go above +the fireplace, instead of below, thus: + + [Illustration] + +Underneath this window stands a writing table and a chair: + + [Illustration] + +"_Next the writing table, towards the door, is a leather covered sofa._" +To add another article of furniture to this already crowded side of the +stage would not only make the room appear unnatural to the audience, but +would render it impossible for the actors to move about with ease. The +director will therefore have to use his ingenuity and judgment as to +where to put the sofa. Some subsequent "business" may necessitate a +change of the disposition of more than one chair or sofa or stool, but +the process here outlined is the first step. To proceed: the sofa, then, +must be placed somewhere else. But where? By moving the drill to the +left, in the corner, the sofa can be placed next to the table, as +follows: + + [Illustration] + +"_The opposite wall, close on your right, is occupied mostly by a +bookcase. The operating chair is under your nose, facing you, with the +cabinet of instruments handy to it on your left._" + + [Illustration] + +It is at once observed how necessary it was to move the drill from the +other side of the room to this: over by the table, it would be out of +convenient reach of the dentist. + +The difficulty of arranging the stage in this case will at once prove +the imperative need of going through the play with the utmost attention +to stage directions and _lines_, in order to make an accurate series of +stage diagrams, property, light, and furniture plots. + +Notice that in the preliminary stage directions the center entrance is +not designated. It soon becomes evident, however, that a center door (or +one, at least, at the back of the stage) is taken for granted. + +This elementary diagram will serve as a working basis. A very little +rehearsing will soon make it necessary to arrange the furniture, and so +on, in a manner more pleasing to the eye and more convenient to the +actor. + + [Illustration] + +There is one more kind of text with which amateurs have to do: it is the +reprint of actual prompt-copies, and is usually accurate in material +details. The following extract is from the opening pages of the fourth +act of Henry Arthur Jones's "The Liars" (in the special edition +published by Samuel French): + + _Scene: Drawing-room in Sir Christopher's flat in Victoria + Street. L. at back is a large recess, taking up half the stage. + The right half is taken up by an inner room furnished as library + and smoking-room. Curtains dividing library from drawing-room. + Door up-stage, L. A table down-stage, R. The room is in great + confusion, with portmanteau open, clothes, etc., scattered over + the floor; articles which an officer going to Central Africa + might want are lying about._ + +The diagram, as given in the text, is this: + + [Illustration] + +This is merely a skeleton, as it were, of a diagram, but first, the +preliminary stage directions--quoted above--and the detailed and full +marginal and other stage directions in the text, make clear every +crossing, entrance, and exit, and designate at least the important +articles of furniture and "props." For example, it is learned from the +text on the first and second pages of the act, that there is a uniform +case "up-Center"--up-stage, that is, in the center of it; a folding +stool by the table; a trunk to the left of Center; and a sofa on the +extreme left. Unlike the quotations from the Wilde and Shaw plays, those +of Jones supply all necessary information to the stage manager and the +actors. Of course, as always, modifications must be made to meet the +exigencies of certain stages and certain actors, but these are minor +matters. + +The fundamental principles of this preliminary blocking-out having been +laid down, we shall now proceed to a consideration of the infinitely +varied problems of grouping and detailed stage business. + + + + +[Illustration: SET FOR MUSSET'S "WHIMS", PRODUCED BY THE +WASHINGTON SQUARE PLAYERS. + +(Courtesy of The Washington Square Players).] + + + + + CHAPTER V + + REHEARSING + + II + + +While it is true that the possibilities of variation in the matter of +grouping, crossing, and so on, are infinite, still there are some +definite principles to be followed. + +Suppose that the blocking-out process is over with, and the actors have +a fair idea of their entrances, positions, business, and exits. The two +following extracts (the first from the third act of Jones's "The Liars", +the second from Edouard Pailleron's "The Art of Being Bored") serve to +illustrate two ways of going about the problem of grouping actors on the +stage. The first contains specific directions, the second only the +merest suggestions. Below is the diagram of the stage in the third act +of "The Liars": + + [Illustration] + +Up to page 107, which is reproduced on page 50, the characters are +grouped as indicated: + + [Illustration] + +Following carefully the stage directions in the text and on the margin, +the action is traced as follows: + + Mrs. Crespin shakes hands with Sir Christopher. Then (marginal + note) "_Sir C. opens door L. for Mrs. Crespin_": + + [Illustration] + + (_Exit_ MRS. CRESPIN.[5] _They all stand looking at each other, + nonplussed._ SIR CHRISTOPHER _slightly touching his head with + perplexed gesture_.) + + [5] _Sir C. opens door L. for Mrs. Crespin; after her + exit, closes door. They all turn and look at Sir C. He + sinks into a chair up C., and shakes his head at them._ + + SIR C. + + Our fib won't do. + + LADY R. + + Freddie, you incomparable nincompoop! + + FREDDIE. + + I like that! If I hadn't asked her, what would have happened? + George Nepean would have come in, you'd have plumped down on him + with your lie, and what then? Don't you think it's jolly lucky I + said what I did?[6] + + [6] _Lady Jess. sits L.C. Sir Chris. puts hat on + bookcase C., and comes down C._ + + SIR C. + + It's lucky in this instance. But if I am to embark any further + in these imaginative enterprises, I must ask you, Freddie, to + keep a silent tongue. + + FREDDIE. + + What for? + + SIR C. + + Well, old fellow, it may be an unpalatable truth to you, but + you'll never make a good liar.[7] + + [7] _Lady R. and Lady Jess. agree with Sir C._ + + FREDDIE. + + Very likely not. But if this sort of thing is going on in my + house, I think I ought to. + + LADY R.[8] + + [8] _Crosses to him C. Freddie sits R.C. annoyed._ + + Oh, do subside, Freddie, do subside! + + LADY J.[9] + + [9] _5th call. George._ + + Yes, George--and perhaps Gilbert--will be here directly. Oh, + will somebody tell me what to do? + +Then, "_after her exit, closes door_. _They all turn and look at Sir C. +He sinks into a chair and shakes his head at them._" Into which chair +does he sink? Since in a moment he must put his hat on the bookcase, +Center, he had better sit on the chair to the right of it: + + [Illustration] + +Then, at the end of Freddie's speech, "_Lady Jess. sits L.C._ [left of +Center]. _Sir Chris. puts hat on bookcase C., and comes down C._" + + [Illustration] + +The last speech of Lady Rosamund on this page is accompanied by the +following stage direction: "_Crosses to him_ [Sir Christopher] _C. +Freddie sits R.C. annoyed_." + + [Illustration] + +This is very simple, but only in the rarest instances are stage +directions so carefully worked out and indicated. The director will +usually be confronted by long pages where there are few or no definite +or dependable directions. The original text of Shakespeare affords us +only the most elementary explanations of stage "business", so that when +Shakespeare is produced it is wisest to use one of the many stage +editions, in which the traditional directions, or others equally good, +are given at some length. Usually, however, the director will be aided +by directions which are fairly full and fairly accurate, but never quite +dependable. The following excerpt--from "The Art of Being +Bored"--contains the ordinary sort of directions, the kind that are +found in good plays and bad. The set is described in the first act as +being: + + "_A drawing-room, with a large entrance at the back, opening + upon another room. Entrances up- and down-stage. To the left, + between the two doors, a piano. Right, an entrance down-stage; + farther up, a large alcove with a glazed door leading into the + garden; a table, on either side of which is a chair; to the + right, a small table and a sofa; arm-chairs, etc._" + +This may be plotted in the following manner: + + [Illustration] + +There are no specific directions as to the position of the sofa and +chairs, but as a large number of characters are on the stage at one +time, a great many will be necessary. The exact number of chairs, as +well as the positions they will have to occupy, depend largely on the +size and shape of the stage. The above diagram will serve at first as a +working basis. Turning to the opening of the second act, we find the +following directions: + + (_Same as Act 1._ + + (_Bellac, Toulonnier, Roger, Paul Raymond, Madame de Ceran, + Madame de Loudan, Madame Arriego, the Duchess, Suzanne, Lucy, + Jeanne seated in a semi-circle, listening to Saint-Reault, who + is finishing his lecture_). + + [Illustration] + + SAINT-REAULT. And, make no mistake about it! Profound as these + legends may appear because of their baffling exoticism, they are + merely--my illustrious father wrote in 1834--elemental, + primitive imaginings in comparison with the transcendental + conceptions of Brahmin lore, gathered together in the + Upanishads, or indeed in the eighteen Paranas of Vyasa, the + compiler of the Vedda. + + JEANNE (_aside to Paul_). Are you asleep? + + PAUL. No, no--I hear some kind of gibberish. + + SAINT-REAULT. Such, in simple terminology, is the _concretum_ of + the doctrine of Buddha.--And at this point I shall close my + remarks. + + (_Murmurs. Some of the audience rise_). + +Here two or three--Bellac and Roger, and one of the ladies, let us +say--rise, and chat in undertones in a small group among themselves. + + SEVERAL VOICES (_weakly_). Very good! Good! + + SAINT-REAULT. And now--(_He coughs_). + + MADAME DE CERAN (_eagerly_). You must be tired, Saint-Reault? + +At this, Madame de Ceran might well rise, as if to put an end to +Saint-Reault's speech. The others are impatient, and perhaps one or two +start to rise. The others whisper, or appear to do so. Then Saint-Reault +continues: + + SAINT-REAULT. Not at all, Countess! + + MADAME ARRIEGO. Oh, yes, you must be; rest yourself. We can wait. + +It is likely that here Madame Arriego would rise and go to Saint-Reault. +Two or three others would follow her. + + SEVERAL VOICES. You must rest! + + MADAME DE LOUDAN. You can't always remain in the clouds. Come + down to earth, Baron. + + SAINT-REAULT. Thank you, but--well, you see, I had already + finished. + + (_Everybody rises_). + +Saint-Reault's audience may then form into small groups, somewhat as +follows: + + [Illustration] + +Care must be taken not to give the stage a crowded appearance, nor yet +an air of too well-ordered symmetry. To continue: + + SEVERAL VOICES. So interesting!--A little + obscure!--Excellent!--Too long! + + BELLAC (_to the ladies_). Too materialistic! + + PAUL (_to Jeanne_). He's bungled it. + + SUSANNE (_calling_). Monsieur Bellac! + + BELLAC. Mademoiselle? + + SUSANNE. Come here, near me. + + (_Bellac goes to her_). + + ROGER (_aside to the Duchess_). Aunt! + +The direction "_aside to the Duchess_" shows that (1) Roger, after the +company rose, either went to the Duchess; or that, (2) meantime he goes +to her. This may be done either way, so long as the two are within +reasonable whispering distance. + + DUCHESS (_aside to Roger_). She's doing it on purpose! + + SAINT-REAULT (_coming to table_). One word more! (_General + surprise. The audience sit down in silence and consternation_). + +Bearing in mind the change of position of Bellac, Roger, and +Saint-Reault, we may reseat the characters as follows: + + [Illustration] + +While, as has been said, grouping depends to a great extent on the size +and shape of the stage, it should always be borne in mind that the stage +should in most cases be made to resemble a picture as regards balance +and composition. This means that the director must avoid crowding; that +the actors must learn to take their places as part of that picture, and +not attempt either to usurp the center of the stage or to disappear +behind other actors. No grouping should ever be left to chance or the +inspiration of the moment; every actor must have marked down in his own +script every movement he makes. Groups and crowds require a great deal +of rehearsing, in order that they may always assume the right position +at the right moment. + +When an impression of vast numbers of people is desired--as in "Julius +Caesar"--large numbers of "supes" are not needed. Eight or ten or twelve +people, well managed, are sufficient to create an effect of this sort on +a small stage, and perhaps twenty on a large. The basic principle of the +art of the theater is suggestion, not reproduction. + +In the "forum scene" of Shakespeare's "Julius Caesar" there are +practically no stage directions. The management of the mob, therefore, +is left entirely to the director. When the Third Citizen says: "The +noble Brutus is ascended. Silence!" we are of course given to +understand--by the word "Silence!"--that there has been some noise and +confusion. The text affords the most important indications. + +Plot out, for practice, the position of the various members of the mob +throughout this scene. + +As a rule, the best impression of a crowd is made by massing and +manipulating groups of from three to six individuals. If movement is +demanded, it must be precise and measured out carefully during +rehearsals. Therefore, since it is nearly always impossible to get +trained actors to compose mobs, it is well to intersperse two or three +"leaders" in any crowd, who will give the cue for concerted action. + +The foregoing discussion, both in the present and preceding chapter, has +been made largely from the director's and the stage manager's viewpoint. +Let us now go back to the actor, and suggest a few methods which will +help him. + +An easy and vivid way of remembering "business" at first is to make a +very simple diagram, thus: + + [Illustration] + +Supposing A, who stands down-stage before the sofa, crosses up-stage to +the small table, as he says: "I'll not stand it any longer!" Just after +this line, the actor places a mark referring him to the margin of his +"script", and makes another diagram: + + [Illustration] + +This represents A crossing to up-stage, left of the small table. In this +way, when the actor is studying his lines, he cannot help studying the +"business", and vice versa; and since lines and "business" almost always +go hand in hand, he will run no danger of having first learned the one +without the other. + +Considerable confusion is likely to arise when an overzealous director +insists that his actors be "letter perfect" before the "business" is +well formulated and worked out and thoroughly learned. + +In the first chapter on Rehearsing, the blocking-out process was +discussed, but the order in which each act was to be rehearsed, the time +to be spent on it, etc.--these matters were deferred, and will now be +taken up. + +At the next rehearsal--that is, after the blocking-out of the first +act--the second is treated in the same way. And after the last act has +been blocked out, the first should be rehearsed with greater care. +Details of "business", grouping, the delivery of lines--especially the +correction of errors in interpretation--must be carefully considered. +Probably some of the "business" blocked out in the first rehearsal will +have to be changed, or at least amplified. Entrances and exits must be +repeatedly rehearsed until they go smoothly. The crossings and +recrossing of one, two, or more characters, can scarcely be rehearsed +too often. + +Let us take a few examples of this sort of detail work. A man comes home +late, tired and hungry. Outside the sitting room through an open door, +is seen the hatrack. How can this simple incident be made to appear true +and interesting? Here is at least one manner of accomplishing it: a door +is heard closing off-stage; footsteps resound in the hall. A, the man, +appears, wearing a hat, overcoat, and gloves, at the Center door, looks +into the room to see whether any one is present, seems surprised, utters +a short exclamation, and then turns to the hatrack. His back to the +audience, he takes off his hat, hangs it carelessly on a hook, then +slowly draws off his gloves, allows his coat to fall from his shoulders, +looks at himself in the glass for an instant, and then, with a sigh, +comes into the room again. + +The incident, of course, is capable of a hundred variations, depending +upon the character of the man, the circumstances under which he comes +home, and so forth. + +Or, a little more complicated instance: A, B, and C, three men, are +seated, talking after dinner. They are stationed as follows: + + [Illustration] + +A sits on the arm of the davenport, B on the davenport itself, and C in +a chair at the lower right-hand side of the table. + +Notice first that the davenport is not placed at right angles to the +audience; this is done so that two people, sitting side by side, may be +better seen by the "house." Notice, too, that A is at the extreme +left-hand corner of the davenport. Visualize this for an instant: here +is proportion, line, and balance, but without the appearance of +stiffness or symmetry, which should always be avoided. B rises and +stands before the fireplace: again notice the grouping: + + [Illustration] + +A then rises and goes to the center of the stage, standing near the left +of the table: + + [Illustration] + +This simple moving about the room should never be obtrusive; that is to +say, the audience must never be conscious of the director's hand. First, +every bit of "business", every move, every gesture, must be justified, +otherwise it calls attention to itself. This is a distinct problem with +amateurs, who naturally find it difficult not to move about when they +have nothing else to do. They feel self-conscious unless they are +"acting." The best rule for any amateur--although it is again the +director who is responsible and should look after this--is, never to do +anything unless he knows precisely why he does it, and unless he _feels_ +it. + +One further example: imagine a five-minute conversation, in the text of +which there are no stage directions. It is between two women: D and E. +They are seated, one in an arm-chair by the fire, the other in an +ordinary chair to the right of a library table: + + [Illustration] + +There are not many plays in which two characters _merely_ converse for +so long a period without well-motivated reasons, but it is well to take +an extreme example. Let us assume that D is telling E the story of her +life, and that for two minutes her speech contains little more than +straight narrative. Suddenly she tells a sad incident, and E, who has a +sympathetic nature, wipes her eyes with her handkerchief. D continues, +and E, no longer able to restrain her tears but not wishing to show her +emotion to D, rises and goes to the left of the stage for a moment or +two. The long conversation scene is now broken up by a natural bit of +action. While in life such a conversation might consume hours, on the +stage it must be made more attractive and emotionally stimulating; in +the theater, the appeal is through the eye and ear, to the emotions. + +Such a scene as the one just outlined must be repeatedly rehearsed, +until every detail of the "business" is worked out perfectly. + +After approximately ten days' work on the first act--during which period +each of the other acts should be run through at least three times--the +actors should be letter perfect and able to give a fairly smooth +performance. + +Then the other acts are rehearsed in like manner. Each act, after it is +finished in this way, must be rehearsed at least every three or four +days. When all the acts have been worked out, then each rehearsal is +devoted to going through the whole play. Minor points in acting, minor +"business", rendering of the lines, voice, gesture, etc., must naturally +be insisted upon. Special cases must be dealt with outside the regular +rehearsals, for the play should be interrupted as seldom as possible, +because it is wise to let the actors become accustomed to going through +the entire piece. It will be found expeditious, too, for small groups of +characters who have scenes together to rehearse by themselves. The full +rehearsals of the play are valuable both to actors and the director, for +the latter is given a general view of his stage pictures which could in +no other way be afforded him, and he is in a position to judge of his +general and massed effects. At the same time the actors will more +readily enter into the spirit of the work if they are permitted to play +without interruption. Where the actors forget their lines, they should +be prompted without other delay, but if they do anything actually wrong, +or if the director wishes to make an important change, the performance +must, of course, be stopped for a moment. + +The number of rehearsals necessary for the production of a play by +amateurs depends largely on the attitude of the amateurs themselves, and +the amount of time at their disposal. It is safe to say that ninety-nine +out of a hundred such performances suffer noticeably from need of +rehearsing. Nor is this to be wondered at, for the average professional +play usually requires four or five weeks' rehearsing--seven to eight +hours daily--for six and sometimes seven days in the week! Of course, an +amateur is an amateur because he is not a professional, and he cannot +afford very much time for work which is after all only a pastime. One +other point should be well borne in mind: the average amateur has not +the patience of the professional. If he is rehearsed too long or too +steadily, he will grow "stale", and lose interest in his work. + +Still, no full-length play can safely be produced with less than four +weeks' work, on an average of five rehearsals of three hours each, per +week. (This does not include special and individual outside rehearsals.) +Four weeks is the shortest time that can be allowed, while six or seven +should be devoted to it. So much time is not necessary in order that the +company may attempt to become professionals; that would be impossible +and not at all advisable. The amateur, if rightly trained, should be +able to impart a certain natural, naive, unprofessional tone to the part +he is impersonating, but this can only be done by constant rehearsing. +The director usually finds that the amateur's first instinct is to +imitate the tricks of the professional actor, and not allow himself to +_feel_ the character of the role. The professional quickly assimilates +mannerisms which are only too likely to become mechanical, but which the +amateur, because he is an amateur, is not likely to learn, if at first +he is trained to avoid them. + +There is no particular excuse for presenting plays which can be seen +acted anywhere and any time by professionals; amateurs should strive to +produce classics, or modern plays which for one reason or another are +not often seen, and impart to them that peculiar flavor which charms as +well as interests and attracts. Nor is there much use in the amateur +actor's striving to become professional in manner: he cannot hope, in +the short time he can spare for his work, to become a good professional; +or, if he gives signs of becoming such, then he no longer belongs in +amateur dramatics. Allow the amateur plenty of leeway in the matter of +interpretation, if he has any original ideas of his own; but of course +these must never be at variance with the general idea of the play. Let +him work out his own salvation: here lies the value of amateur +production, both to the actor and to the audience. + +Often amateurs are called upon to portray feelings, actions, passions, +of which they have no knowledge or experience. Love scenes, for +instance, are invariably difficult. In this case, the actors must be +taught a few conventional gestures, attitudes, and tricks, but they +should not be permitted--except in rare cases--to lay much stress on the +acting. This also applies to such purely conventional matters as +kissing, dying, fighting, etc., for which a set of recognized technical +tricks has been evolved. Any competent director can train actors to do +this. + +One more point before this part of rehearsing is dispensed with: amateur +productions suffer largely from a lack of continuous tension and +variety. Often the action is slow, jerky, and consequently tedious. +Constant rehearsing, with a view to inspiring greater confidence and +sureness in the actors, under a good director, is the best means to +overcome these great drawbacks. The last eight or ten rehearsals, after +the cast are familiar with their lines and "business", are the most +important in the matter of tempo. Details of shading, well-developed and +modulated action, and a well-defined climax, are what must be worked +for. When the actors are no longer thinking of when they must cross or +sit down or rise, they are ready to enter whole-heartedly into the +spirit of the play as an artistic unit. + +As an example, on a small scale, of how a scene may be modulated and +shaded, two pages from Meilhac and Halevy's "Indian Summer" (published +by Samuel French) are here reprinted with marginal notes explaining how +these effects are obtained. + + {ADR. Just a moment ago I forgot that such a thing + {was out of the question-- + _Slowly_ { + _and_ {BRI. Why out of the question--? + _quietly._ { + {ADR. Why, because-- + + {BRI. Because what? How much did that American + _Slight increase_ {family pay you? I'll give you twice as much--three + _of_ {times as much. Whatever you want! + _speed and_ { + _tension._ {ADR. Only to read to you? + { + {BRI. Why, yes. + + {ADR. That wouldn't be so bad--there's just one + {thing against it--it might be just a wee bit + {compromising! + { + _Slowly_ {BRI. Oh! + _rising_ { + _tension_ {ADR. Really, don't you think so? Just a bit? + _and speed._ { + {BRI. At my age? + { + {ADR. (_gaily_). Oh, it's all very well--a young + {person like me--alone with you. (_Seriously._) Oh, + {if you only didn't live alone--! + { + _Staccato._ {BRI. If I--? If I weren't alone? + + {ADR. If you only had some relatives--married + {relatives--your nephew, for instance, with his + {wife--then I might-- + + {BRI. Once more, don't speak to me of--! He's the + {one that brought all this trouble on us--that + {letter that forces you to--that letter came from + _Emphasis._ {him. (ADRIENNE _makes a quick movement of + {protest_.) 'Tisn't his fault, I know, but I hold + {a grudge against him as if it were-- + + _Momentary_ {ADR. And yet, if I told you-- + _pause._ { + {BRI. (_stopping her_). Shh! If you please. + {(_Pause._) + + {ADR. (_moved_). Then I must go. That was the only + _Diminuendo._ {way; and you don't want to do that. I'm sure I + _Tense,_ {don't know what will happen afterward. I still + _but quiet._ {hope--But for the moment, I must (_Mild access of + {crying_). Oh I'm sorry--so sorry--(_Falls into + {chair at side of table_). + + {BRI. (_excitedly_). Adrienne! + _Slight increase_ { + _again._ {ADR. (_recovering mastery over herself_). I beg + {your pardon--there! There! (_Brushing away her + {tears_).See, it's all over! + + {BRI. Adrienne! + { + {ADR. (_rising_). Monsieur! + { + {BRI. It's true, then, if there were some way, you + {would--? Not the way I mentioned just now--but + {another--you wouldn't leave, would you? You'd + _Quickly_ {stay here--near me--always--and be happy? + _increasing_ { + _rise._ {ADR. (_lightly_). Oh yes, it's too--I say it from + {the bottom of my heart! + { + {BRI. Very well, you shan't go. + { + _Quickly._ {ADR. I--? + { + {BRI. No, you shan't go. + { + {ADR. But--how?--Why? + + {BRI. I have found a way! + _Moment_ { + _of suspense._ {ADR. And it is? + + {BRI. To make you my wife! + _Climax._ { + {ADR. (_Sits down again, overcome_). + + {BRI. I'll do it!--Go and speak to your Aunt--Here! + {Come here! (_Enter_ NOEL, _right, carrying a + {bundle of papers_). Come here! Don't be afraid! You + {may go and get your wife. Bring her here! I'll + {forgive her as I forgive you! (_Shakes hands warmly + {with_ NOEL). + { + _High tension_ {NOEL. Uncle! + _after_ { + _the_ {BRI. You were right--now I know it! What do I + _climax,_ {care if she is a watchmaker's daughter? Go and get + _and preparatory_ {your wife--bring her here--and we'll live together, + _to another_ {the four of us us-- + _climax_ { + _later on._ {NOEL. All four of us? + { + {BRI. Yes, all four! (_To_ ADRIENNE). I am going + {to speak to your Aunt--I'll be back at once. + {(_Exit Center_). + + + + +[Illustration: "SISTER BEATRICE" OF MAETERLINCK, PRODUCED AT THE +WESTERN RESERVE COLLEGE FOR WOMEN. + +The simple hangings produce a good cyclorama effect. (Courtesy of Miss +Ida Treat).] + + + + + CHAPTER VI + + REHEARSING + + III + + +The dress rehearsal usually takes place on the night before the regular +performance. + +Every effort must be made on this occasion to have conditions, on the +stage and behind it, as nearly as possible like those under which the +play is to be given. Scenery, lighting, costumes, must all be ready, and +the performance carried through with as few interruptions as the +director can afford to make. The director should be in the back of the +"house", and stop the players only when they do something absolutely +wrong. It is very unwise to change lines or "business" at this eleventh +hour. The stage manager and his assistants must be in their assigned +places, the lights manipulated, actors "called", the curtain rung up and +down on schedule. The director watches the general effects, sees that +the stage is not crowded, that the lights are in order, and above all, +watches the tempo of the performance. + +The actors must be informed that on the occasion of the performance the +audience is likely to distract them by applause, laughter, etc., and +that they, the actors, must pause for a moment when there is any such +interruption. A little advice as to resting, not worrying about lines, +etc., will not be out of place. + +Besides the _acting_ dress rehearsal, there should be a scene and light +rehearsal. This is merely for the assistants behind the stage. The +different scenes (if there is more than one) should be set and "struck" +(taken down), furniture and "props" stationed, lights worked, exactly as +they are to be on the following night. Everything should go according to +clockwork, the stage manager "holding the book" on all his assistants. + +The performance should begin on time. Every one knows the irksome delay +usually incident to amateur performances, and it ought to be the object +of every director to remedy a defect which is inherent in our usual +slipshod method of reproducing plays. Promptness is the prime requisite +of efficiency, and the production of plays is successful only when the +component elements are organized on a sort of military basis. The actors +must be in the theater on time, and "made-up" in costume, at least half +an hour before the curtain rises. It is well for each actor to see the +property man and make sure that all the "props" necessary to his part +are in readiness. The property man himself must also check up his list +for the last time, in order to avoid confusion during the performance. + +When everything is in order, there is little more to be done. The +director might make a few general remarks to the cast, endeavor to +inspire them with confidence and impress upon them the necessity of +playing together harmoniously, and so on, but if his work has been well +done during rehearsals, this will not be necessary. + +The prompter must follow the play line for line and be ready to prompt +any actor who forgets his part. It is well for the stage manager to be +near the prompter, in order that every cue for lighting, "business" +off-stage--like ringing bells, shooting, etc.--may be acted upon as +required. + + + + + [Illustration] + +[Illustration: TWO VIEWS OF THE STAGE AT TUFTS COLLEGE, SHOWING PLENTY +OF OPEN SPACE FOR THE STORING AND SHIFTING OF SCENERY. + +(Courtesy of L. R. Lewis).] + + + + + CHAPTER VII + + THE STAGE + + +A great deal more attention is being directed--in this country, at +least--to the improvement of the physical requirements of the stage than +heretofore. During the past few years, numerous writers[10] have made a +systematic study of theaters abroad and at home, and revealed the fact +that on the whole our theaters, both before and behind the curtain, are +antiquated, ill-equipped, and fall far short of the infinite +possibilities which have been made realized in certain cities of Germany +and Russia. + + [10] Hiram Kelly Moderwell, in his "The Theatre of To-day" + (Lane), and Sheldon Cheney, in his "The Modern Movement in the + Theatre" (Kennerley), have rendered signal service in this + field. The first book contains a thoroughly systematic account + of practically all the new theatrical experiments. + +Revolutionary experiments in lighting, as well as in the disposition of +stage settings, have, during the past ten or twelve years, opened up +fields formerly undreamed of. + +It is not the purpose of this chapter to describe at great length these +innovations; the reader is referred to the books of Moderwell and Cheney +mentioned in the footnote above. A few elementary suggestions, however, +which may be used by skilled and intelligent amateurs, will prove +suggestive to the average director and stage manager. + +It is likely that by far the greater number of amateur plays will be +performed on a stage which is already built and equipped. In such cases, +all the stage manager can do is to use his own scenery and at least have +a voice in the matter of lighting. Still, many plays are performed on +improvised stages, in private homes, clubs, or schoolrooms, or +out-of-doors. This allows the stage manager a little more leeway, and +often he may modify the size of the stage to suit himself, and introduce +some innovations of his own. + +To those who are in a position either to build or temporarily construct +their own stages, this chapter is primarily addressed. + +We shall now proceed to a consideration of a few of the more important +innovations on the modern stage. The first of these is undoubtedly: + +=The Cyclorama.= This is "a white or tinted backing for the stage, built +in the form of a segment of a vertical cylinder. It may be constructed +of canvas or of solid plaster.... Now, if made of canvas, it is more +usually kept, when not in use, on a vertical roller, at one side of the +stage, near the front, and carried around behind the stage, unrolling +from its cylinder the while, until it connects with a similar cylinder +at the opposite side of the stage. It hangs from a circular iron rail, +and almost completely encloses the stage, rising to the required +distance.... It can be rolled up on its original cylinder when it is not +needed, leaving the stage once more approachable from all sides.... The +chief uses of the cyclorama are evident. It presents a continuous dead +white or tinted background, which, when played upon by the proper +lights, gives a striking illusion of depth and luminous atmosphere.... +But perhaps the chief value of the cyclorama, from the standpoint of the +stage artist, has not yet been mentioned. For the new device changes +altogether the problem of lighting. Ordinary sunlight is, as we know, +not a direct light, but an infinitely reflected light, bandied about by +the particles of air and by the ordinary physical objects on which it +strikes. The mellowness and internal luminosity of ordinary sunlight is +wholly due to this infinite reflection. It was the lack of this that +made the old stage lighting, with its blazing direct artificial glare, +so unreal. The cyclorama, and especially the dome cyclorama, permits the +stage to be lighted largely or wholly by crisscrossing reflection. The +mellow and subtle lighting which makes it possible was altogether +unknown under the older methods."[11] + + [11] Moderwell's "The Theatre of To-day." John Lane Company. + +The construction of a cyclorama, either of cloth or of plaster, is +rather difficult, but there are certain simple substitutes which may be +used to secure some of its elementary effects. The following system has +been used by some amateurs with signal success. + +First take a wooden rod, or better, iron pipes, curved to the desired +shape. + +Fasten this framework either to the ceiling of the "loft" or, if that is +too high, to the wings. On the rod hang curtains of burlap, or some +similar material, or else two or three thicknesses of cheesecloth, so +that they fall in simple folds. The color will depend on the sort of +play to be produced and the kind of lights used. As a rule, dark tan, +green, or dark red are the best colors, and can be used on many +occasions and for nearly every sort of play. Whether the "cyclorama" +thus improvised be permanent or temporary, this is one of the best +possible backgrounds. In out-of-door scenes, it gives a suggestion of +distance. + + [Illustration] + +In Constance D'Arcy Mackay's book on "Costumes and Scenery for Amateurs" +the author describes how a "desert and oasis" scene can be made from the +simplest means: + + "A plain sand-colored floor cloth. A backdrop or cyclorama of + sky-blue against which very low sand mounds appearing as if at + great distance, with palm trees, also made small by distance. + These mounds and palm trees should be painted low on the + backdrop, since a vast stretch of level sand is what is to be + suggested. It would even be possible to use a plain blue sky + drop, and run some sand-colored cambric into mounds across the + back of the stage, so as to break the sky line." + +It is not necessary, though, to _paint_ the cyclorama: darker cloth, +made to represent mounds, thrown across the lower part of the cyclorama, +would be equally effective. Further examples of what can be done with +the cyclorama will be cited in the chapter on "Lighting." + +Another of the recent innovations which is of particular value to +amateurs is the system by which the proscenium opening can be made large +or small, according to the demands of the play. Usually the proscenium +looks like the following diagram. + +[Illustration: AN ORDINARY BOX-SET. FROM DUMAS _FILS'_ "THE MONEY +QUESTION", PRODUCED AT TUFTS COLLEGE. + +(Courtesy of L. R. Lewis).] + +Suppose one scene of a play calls for a large courtroom filled with +people. Obviously, all the stage space is required. But suppose that the +next scene is a small antechamber. On the average stage the discrepancy +is at once observed, and the effect is more than likely ridiculous. Even +if the sets used are "box sets" (that is, with three walls and not mere +conventional screens or curtains), the effect of great size can easily +be obtained in the first scene, and smallness in the second, by means of +the device about to be described. This applies, of course, to plays +where the same set must be used for both scenes. If, however, a +different set is used for the antechamber scene, the new device is +imperative. + + [Illustration] + +First, construct two tall screens (on a wooden framework), made either +of painted canvas or draped cloth, of some dark and subdued tone, and +place them on each side of the stage, just behind the proscenium arch, +as in the diagram: + + [Illustration] + +These screens can be easily set closer to the center of the stage, +thereby diminishing its size on the sides. Then the "grand drapery" +above, which hangs down from behind the top of the proscenium arch, and +which should be of the same color and material as the side screens, is +lowered. This process makes, from the inside, a smaller proscenium arch. +Many of the German and some other stages have added a fourth side to +this frame, by "boxing" the footlights: + + [Illustration] + +This last, besides giving the effect of a detached picture to the set, +prevents the direct rays of the footlights, when they are used, from +shining up into the gallery. + +To return to the smaller scene made by the inner proscenium arch, it +will readily be seen that the cyclorama--if there is one--or back wall +of the set, or else the curtain, must usually be brought forward a +little. The advantage of the inner proscenium becomes apparent when such +a play as "The Merchant of Venice" is performed, and the absurdity of +using a stage of the same size for the Portia-Nerissa scene in the first +act and the casket scene, is forcibly brought to our attention. + +=The Revolving Stage= and =The Wagon Stage=. These are fully described +in the books which have been referred to. They are both extremely +valuable, but as yet too complicated and expensive to be seriously +considered for amateurs. + +The introduction of simpler scenery and simpler lighting does away with +much that was difficult to manage under the old system, and a few +well-trained amateurs should be able to set and attend to almost any +production without having recourse to the revolving stage and the +"wagons." + +As much space as possible should be kept clear behind the curtain; +occasions are likely to arise when the entire stage may be used, and +manipulation of scenery on a full stage is a difficult task. + +A few suggestions as to lighting and its relation to scenery and color +and action will be set forth in the next chapter. + + + + + CHAPTER VIII + + LIGHTING + + +It has been rightly urged that recent inventions and discoveries in +lighting constitute the greatest contribution to the modern art of the +theater. This manual is intended primarily to help the producer and the +actor, but the present short chapter may assist the former or his +associates in their effort to improve the physical conditions of the +stage. + +The prevalent system of using footlights and border lights is on the +whole bad, because it is false, unnatural, and above all unnecessary. +Says Moderwell (pages 107-108, in "The Theatre of To-day"): + + "Before we can begin work in artistic lighting we must do some + destroying. One element in the old lighting must go, and go + completely. We can say this with careless ease now that the + Fortuny system has given us a better way. But even before this + invention was made known, the case against the footlights must + have been obvious to any sensitive man of the theatre; that the + 'foots' continued as long as they did indicates the stagnation + of the old theatre in all but purely literary art. + + [Illustration: From "The Architectural Review." + OPERATION OF THE FORTUNY INDIRECT LIGHTING SYSTEM.] + + "The footlights, with their corresponding border lights from + above, give a flat illumination. They make figures visible, but + not living; they destroy that most precious quality of the + sculptor, relief.... It is the shadows, the nooks and crannies + of light and shade, that show a figure to be solid and plastic." + +The Fortuny system mentioned is a device by which light is reflected and +diffused: "An arc-lamp and several pieces of cloth of various +colours--these comprise the Fortuny apparatus in its simplest form." +While only an expert electrician and, if the effects are to be artistic, +an artist, can erect and manipulate a system built on Fortuny's +principles, still amateur electricians and directors should do their +best, by means of experimentation, to use indirect lighting. + +Just how this can be done must rest with individuals, but two or three +experiments may be briefly described. + +Suppose that the cyclorama, or the hangings masking the back of the +stage, are made of white or light-colored cloth. In this case, an arc +lamp or ordinary calcium light can be placed up in the loft, above the +top of the cyclorama, and behind it. A little experimenting will reveal +many striking light effects. If one light or lamp is not sufficient, +others can be placed in various positions to reenforce it. As conditions +vary so greatly, it is impossible to supply more concise directions. + +Where box sets are used in which there is at least one window, and +provided the scene does not take place at night, it is much better to +have all, or at least an appreciable portion of the light come in +through one window. In the second act of Charles Klein's "The Music +Master" played by David Warfield and produced by David Belasco, the +stage was at one time brilliantly lighted, supposedly by sunshine from +the outside, from the two opposite sides of the stage! If, however, +screens and curtains are used (see chapter on "Scenery and Costumes"), +then it is best to introduce some sort of central reflected light. To +station lights on all sides of the stage will first of all make the +stage too bright, and furthermore produce unnatural and distorted +shadows: there is no chance for effects of relief or any illusion of +plasticity. If possible, the footlights should be entirely eliminated; +if not, then most sparingly used. Our stages are for the most part +overlighted. + +The production of Lady Gregory's "The Rising of the Moon" by the Irish +Players was one of the simplest and at the same time most effective of +stage pictures. The following diagram will show in a rough way the +general disposition of the settings: + + [Illustration] + +The back of the stage (the shaded area) was flooded with white light to +suggest moonlight. There were no "foots" or "borders"; anything besides +the single light would have ruined the effect of perfect placidity. + + + + + CHAPTER IX + + SCENERY AND COSTUMES + + +Very little need be said regarding the usual conventional sets, whether +they represent interiors or exteriors. The purpose of this chapter is +(1) to suggest simple but effective means of staging without using the +conventional sets, and (2) to lay down a few principles as to costuming. + +By means of the simple devices about to be described, the amateur is +enabled to do without "box sets" and all the paraphernalia of the old +stage. The tendency nowadays is away from naturalism in setting; the aim +is rather to supply simple but beautiful backgrounds with as little +obvious effort as possible; to suggest rather than to represent. When +the word "conventional" is used it is intended to convey the meaning not +of "old" and "hackneyed", but of "simple", "suggestive." Beardsley's +drawings are conventional because attitudes and lines are +conventionalized. + +In the main, there are three sorts of setting which may be used for +practically all kinds of plays. They have been successfully tried out on +numerous occasions, and few plays have been found which cannot fit at +least one of them. + +1. The first and simplest of them all consists of draperies and tall +screens. The Greek classics and Shakespeare are particularly effective +with this sort of background. Where Greek plays are given, a peristyle +of wooden pillars up-stage, behind which may be hung white or tinted +curtains, is especially desirable. Any Greek, and most Latin plays, can +be produced with this setting. Often such plays are given in the open. +If the performance takes place in the daylight, there is no difficulty +as to artificial lighting; but if it is at night, then a flood-light +must cover the stage. This is placed toward the back, or else behind the +audience. + +Shakespeare is seen at his best with the simple background. A sort of +cyclorama may be constructed by using curtains hung at the back of the +stage, upon which is thrown light from one place: behind the proscenium +arch, from above, or from one of the sides. Suppose that "The Comedy of +Errors" is the play to be performed. The first scene of the first act is +"_A hall in the Duke's palace_." This, of course, should be printed on +the program, but on the stage all that is needed is a suggestion or two, +like a gilded chair, and a painted white bench or two. These are not +needed in the action, but they serve to create an atmosphere. The second +scene is "_A public place_." Absolutely no "props" or furniture are +needed; indeed, their very absence indicates the "place." The first +scene of the second act is the same. The curtains around the stage must +be made in sections, in order to allow the actors to enter and exit +through them. The lines are always sufficient to indicate where a person +is coming from or going to. In the first scene of the third act, Dromio +of Syracuse says: + + DRO. S. (_within_). Mome, malt-horse, capon, coxcomb, idiot, patch! + Either get thee from the door, or sit down at the hatch: + Dost thou conjure for wenches, that thou call'st for such store, + When one is one too many? Go, get thee from the door. + +A house is evidently intended to be represented, but it is not necessary +that we see it: Dromio of Syracuse can speak from behind the curtain. +The convention will readily be accepted. Nor is it necessary to +differentiate the various "public places", except for the sake of +variety: perhaps a bench or two now and then will accomplish this +purpose. And when, in the first scene of the fifth act, the public place +is "_before an abbey_", still there is no need of any definite set +pieces. From time to time, doubtless some special article of furniture +or set piece of some kind will be mentioned in the text, not elsewhere, +in which case it can easily be supplied. + +This "Shakespeare-without-scenery" is not the only method by which +Shakespeare can be performed, but it is the easiest and, if done with +taste, the most effective. + +Let us now take rather a more difficult play, "Twelfth Night." The first +scene of the first act is "_An apartment in the Duke's palace_." The +Duke sits on a sort of throne or sofa. In Max Reinhardt's production of +this play at the Deutsches Theater in Berlin, the set consisted simply +of a semicircular lounge extending all the way across the stage. It was +covered with dark blue plush; the hangings were of the same color. A +warm yellow light directed from above flooded the stage. + +Either a throne or sofa for the Duke, then, and a few other chairs for +the remaining characters, who sit down--the musicians stand--or else, +following Reinhardt, a semicircular lounge. This is all. The second +scene is "_The seacoast_." The stage is bare here. The third scene is +"_A room in Olivia's house_." Different chairs or sofas and a throne for +Olivia. The following scene is the same as scene one. The first scene of +the second act is the seacoast once more. The next is "_A street_." No +furniture. The third scene is "_A room in Olivia's house_"; evidently +not the same as that in which Olivia first appeared. The room is +probably in or near the wine cellar. A table, therefore, and three or +four chairs, will not be amiss. The next is the same as in act one, +scene one. The fifth scene of the second act is "_Olivia's garden_." +Here the stage business requires a few definitely placed shrubs and a +bench or two. The best arrangement of this scene is suggested in the +diagram: + + [Illustration] + +Malvolio comes down-stage Center, while the others are hiding behind one +of the benches, either Left or Right. These benches, as indicated in the +diagram, are partially concealed by shrubs. Baytrees, planted in +green-painted tubs, make especially good decorations. They can be used +on many occasions, as will be shown later. Nor, in the case of the scene +from "Twelfth Night", are they so high as to conceal the actors who are +supposed to be hidden behind them. The following scene is the same. The +second scene of the third act is the cellar room again. Following this +is "_A street_"; then "_Olivia's garden_" once more. The next new scene +is the first of the fourth act: "_A street before Olivia's garden_." +Perhaps a little variety can be introduced in the shape of a shrub or +two. The remaining scenes are repetitions of those already considered. + +The suggestions above given are extremely summary, but, if acted upon, +will be seen to prove sufficient. + +2. Out-of-door scenes of a more elaborate character, in plays like +Rostand's "The Romancers", often require more complicated sets; they may +still be produced with the most elementary sort of background, however. +The stage directions of this play are as follows: + + SCENE: _The stage is divided by an old wall, covered with vines + and flowers._ _At the right, a corner of_ =BERGAMIN'S= _park is + seen; at the left, a corner of_ PASQUINOT'S. _On each side of + the wall, and against it, is a rustic bench._ + +This is set in the following manner: + + [Illustration] + +The background hangings may be of tan burlap or else dark green. Gaps, +covered by the folds, must be made up- and down-stage to allow the +actors to enter and leave the stage. The wall must be constructed of +solid wood, in order to support the actors, and painted to suggest +bricks. There is a rustic bench against each side of the wall. Though +they are not mentioned in these preliminary directions, there are other +rustic benches, down-stage to the extreme right and left. These are used +later in the act. + +In the second act, "_the wall has disappeared_. _The benches which were +formerly against it, are removed to the extreme right and left._ [The +extra benches mentioned in the first act have of course been removed.] +_There are a few extra pots of flowers and two or three plaster statues. +To the right is a small garden table, with chairs about it._" This scene +is set as follows: + + [Illustration] + +The third act stage directions are: "_The scene is the same except that +the wall is being rebuilt. Bricks and sacks of plaster lie about_." A +few bricks may serve to indicate the partly finished wall. + +Since the scene of this play is laid at first in parks, there ought to +be some suggestion as to this fact. Here bay- or box-trees can be used. +Perhaps three or four should be arranged more or less symmetrically at +the back of the stage, and as many to the right and left, down-stage. +One or two can be added, close to the wall. This is all that is +absolutely necessary. + +The foregoing remarks have been applied largely to romantic plays, but +what is to be done in modern realistic pieces? There are two courses +open, besides the conventional one (using box sets): + +The first method is to use the regular hangings as before and set a few +needful articles of furniture about the stage. This is not realistic, +but there are many realistic plays which can be produced without +correspondingly realistic settings. Of course, where windows are +referred to and used, there must be real windows, and where a character +is directed to hang a picture on a wall, there must be a wall. However, +there are many realistic plays where box sets are not required. Hermann +Sudermann's "The Far-away Princess" is a case in question. The author +has definitely suggested a certain setting for the play, but as his +suggestions are not absolutely essential they may be modified. The +directions are: + + "_The veranda of an inn. The right side of the stage and half of + the background represent a framework of glass enclosing the + veranda. The left side and the other half of the background + represent the stone walls of the house. To the_ _left, in the + foreground, a door; another door in the background, at the left. + On the left, back, a buffet and serving table. Neat little + tables and small iron chairs for visitors are placed about the + veranda. On the right, in the centre, a large telescope, + standing on a tripod, is directed through an open window._ ROSA, + _dressed in the costume of the country, is arranging flowers on + the small tables_. FRAU LINDEMANN, _a handsome, stoutish woman + in the thirties, hurries in excitedly from the left_." + +If the dramatist's stage directions are implicitly followed, a realistic +set will be required. The scene as set according to the diagram, has, +however, often been used: + + [Illustration] + +Once more, the little shrubs may be used in order to give an atmosphere +of outdoors. + +Or, to take an example of a "modern-interior" play in which the same +conventionalized scenery may be used to advantage--Alfred Capus' +"Brignol and his Daughter" (published by French) is set as follows: + + SCENE: _An office, fitted up with various articles of parlor + furniture--rather pretentious in appearance. To the right, a + table with letter-files, and a safe; beside the safe, a + bookshelf. At the back is the main entrance; there are other + doors, right and left, one opening upon a bed-room, the other + upon the parlor._ + +Here the setting is so usual, so conventional, that no _actual_ room is +required: merely the table, chairs, safe, etc., as called for. Of +course, it is not imperative that such plays should be set in this +manner: the arrangement with screens about to be described is usually +the best way. The point here to be impressed is that realistic sets are +not always required for realistic plays. + +3. By the introduction of screens--not to be confused with the large +screens mentioned by Gordon Craig, however--practically any realistic +play can be produced. The diagram below will afford some idea of the +very simple principle: + + [Illustration] + +Three screens, about seven feet high, made in three sections, and +covered with burlap or some similar material, are all that will usually +be required on a moderately small stage. These can be set in various +ways. If an ordinary room is called for, they may be set as in the above +diagram. + +"Brignol and his Daughter" may be staged by using three screens (as in +the diagram above): the opening at the back is the center door; the +doors on the right and left are the openings left between the lower ends +of the side screens and the inside of the proscenium arch. The furniture +is set in this scene as it is required in the stage directions. If the +proscenium opening is too large, then the grand drapery can be lowered +to within two or three feet of the top of the screens, and the side +screens, behind the sides of the proscenium arch, brought closer +together. Behind the screens representing the room, burlap or a suitable +substitute may be hung. To take concrete examples once more, the setting +of the first act of "A Scrap of Paper" (the adaptation by J. Palgrave +Simpson) is thus described in the text: + + _Drawing-room in a French country house. Windows to the floor, + R.C._ [Right Center] _and L.C._ [Left Center], _at back, looking + out on gardens and park. The window L.C. is at first closed in + with barred Venetian shutters. The window R.C. opens on the + garden. Fireplace, C._ [Center] _between the windows, surmounted + by a mirror. On each side of the mirror is a bracket, within + reach of the hand; the one R. supporting a statuette of_ FLORA, + _the other, L., empty. Doors, R. 2 E_ [See diagram] _and L. 2 E. + Sofas R. and L. up-stage. At C. of stage is a round table, with + a lamp, and an embroidery frame, a book and other objects + scattered upon it in great disorder. Chairs R. and L. of table. + Arm chairs R.C. and L.C., downstage. The furniture is to be rich + but old-fashioned, and a little worn. Carpet down._ + +Five screens are here required: one at the back, behind the fireplace; +and two on each side of the stage. Only two of the three folding +sections of each are used. + + [Illustration] + +The fireplace must be "practical"--that is, it must have a wooden +framework. In case a mirror is desired, it can be lower than a mirror +usually is, and made of mosquito netting, to avoid reflections. A very +few pictures may be hung on the screens. The hangings at the back of the +stage--masking the bare walls--are of the same sort as have been +described before, but the color of the screens must harmonize with them. + +With such a background, and by means of screens, shrubs, and a few +necessary set pieces, like the wall in the Rostand play, the author has +seen a dozen widely different plays produced by amateurs, in not one of +which was the slightest noticeable discrepancy or anything that would +shock even the theatergoer who is accustomed to the elaborate and often +unnecessary settings of David Belasco. + +As may be easily imagined, the possibilities of variation upon these +simple settings are infinite. Experimentation, as always, will reveal +new fields. + + * * * * * + +Before closing the chapter, a word may be said of the flat background +near the curtain line. About four or five feet behind the curtain +line--_i.e._ the place where the curtain falls to the stage--hang a +drop, either of burlap, or else a white drop like that used in +stereopticon lectures. This, either played upon by lights in "the +house", or from behind the stage, forms a striking background for scenes +of pantomime, a street--as in "Twelfth Night"--a wall, a forest, almost +anything. Such a screen was most effectively used in one scene of +Reinhardt's production of "Sumurun." A still more striking effect was +achieved in a performance of "Peer Gynt" at the Lessing Theater in +Berlin. The scene was the one in which Peer Gynt is before the pyramid +in Egypt. About five feet behind the curtain line a white screen was +dropped. Diagonally across this screen was thrown a dark purple light, +while over the remaining space a saffron yellow played. That was all, +but the suggestion of the vast shadow of the pyramid and the yellow +sunlight and the yellow sands of Egypt was far more impressive than any +_representation_ of the pyramid and desert could be. + +In case the effect of a distant city is desired, then another (darker +and thicker) cloth, cut to represent the outlines of buildings and the +like, can be sewed against the drop, thus producing the effect of a +silhouette. + +In fine, the whole problem of staging resolves itself into this: achieve +your effects in as simple a way as possible; suggest, do not try to +represent; scenery, which ought indeed to be a delight to the eye, is +after all only background. Experiment, but never hesitate to ask the +advice of those who know the basic principles of color, line, and form, +as well as those who have technical knowledge of every branch of the art +and craft of the theater. + +=Costumes.= In his introductory remarks to "The Romancers", Rostand says +that the action may take place anywhere, "provided the costumes are +pretty." This is the basis of the few brief remarks to be made here on +the subject of costumes. It must not be concluded, however, that any +costumes may be used on any occasion. A modern play must have modern +costumes--except in such plays as "The Blue Bird" and "Chantecler"--and +a "period play" must at least approximate in spirit the age in which the +action transpires. But it makes little difference whether Hamlet wears a +tenth or eleventh century Danish costume, or one of the age of +Elizabeth. It is a well-known fact that in Shakespeare's days there was +little or no regard for historical accuracy in costumes, and that even +in the historical plays the actors wore contemporary clothes. The point +to be impressed is not that we should play "Julius Caesar" in dress +clothes, but that such discrepancies as were allowed in Elizabethan days +could not have made very much difference, and that nowadays it is not +worth while to spend too much time over details. In Greek plays it is +well to use Greek costumes, because we have long been accustomed to +associate some sort of archeological detail with plays of a certain age; +and besides, Greek costumes are beautiful. But, and this is of great +importance, do not strive to be historically exact: so long as costumes +are beautiful and harmonize with the setting, and so long as they are +not absurd or too much out of harmony with the play, they are good. +There are numerous exceptions. Where a play definitely calls for a +distinct atmospheric setting--like Bennett and Knoblauch's +"Milestones"--then the utmost effort must be made to obtain correct +costumes and setting. But the reason why the first act of this play +requires historical accuracy is that the audience knows very well what +mid-Victorian clothes are like. If the play were given in the year 2500 +A.D., it is safe to say that Elizabethan or Queen Anne costumes might do +just as well. + +However, historical accuracy, when it can be obtained as easily as not, +is never superfluous. + + + + + [Illustration] + +[Illustration: TWO VIEWS OF THE STAGE AT THE UNIVERSITY OF +NORTH DAKOTA. + +(Courtesy of Frederick H. Koch).] + + + + + CHAPTER X + + SELECTIVE LISTS OF AMATEUR PLAYS + + +The following lists, which do not pretend to completeness, will at least +be found helpful in assisting amateur organizations to choose +"worth-while" plays. The general headings "Classic", etc, are clear, but +the following explanations must be made regarding the other markings: + +An asterisk (*) indicates that the play is in one act. Those not so +marked are in more than one act, and are in most cases "full length." + +The letter "S" denotes serious or tragic plays, intended in nearly every +case for advanced amateurs. + +The letter "R" denotes plays of a romantic and poetic nature. + +The letter "C" denotes comedies, farces, and plays in lighter vein. + +The letter "F" in parenthesis after the title indicates that a fee is +charged for production by amateurs. The publisher or agent (see +footnotes), must be consulted for particulars. + +The letter "D" denotes modern dialect plays, like those of Lady Gregory. +Most of these plays are included under the general heading of "Classic" +because the costumes and setting, though they may be modern, are not the +familiar modern costumes and settings. + +All plays not included in the first division "_Classics, including +modern costume and historical plays_" are to be found in the second +division: "_Modern plays._" + +It is nearly always unwise for an amateur organization to take a play on +faith; it is therefore advisable for it to collect a library of amateur +plays, from which successive generations of members can at least form +some judgment of the field from which they are to select their plays. + +This list makes no pretence to completeness. It has been the writer's +purpose merely to mention a number of classic and standard plays which +amateurs can produce without too great difficulty. + + + [Illustration] + +[Illustration: SCENES FROM EURIPIDES' "ELECTRA". PRODUCED AT ILLINOIS +STATE COLLEGE. + +(Courtesy of Rollin H. Tanner).] + + + CLASSICS, INCLUDING MODERN COSTUME AND HISTORICAL PLAYS + + +Greek + + RS Euripides, _Alcestis_ (Samuel French; Walter H. Baker) + + RS Sophocles, _Antigone_ (Samuel French; E. P. Dutton, in + Everyman's Library) + + RC Aristophanes, _The Clouds_ (Macmillan; "The Drama", Victorian + edition) + + C _Lysistrata_ (Samuel French. Another version, by Laurence + Housman, published by The Woman's Press, London) + + +Latin + + C Plautus, _The Twins_ (Samuel French) + + C Terence, _Phormio_ (Samuel French) + + +Spanish + + RC Lope de Vega, _The Dog in the Manger_ ("The Drama", + Victorian edition) + + RC Calderon, _Keep Your Own Secret_ (Macmillan) + + RC Benavente, _The Bonds of Interest_ (in "The Drama", No. 20) + + +Italian + + RC Goldoni, _The Fan_ (Yale Dramatic Association) + + RC _The Beneficent Bear_ (Samuel French) + + RC _A Curious Mishap_ (McClurg) + + RCD _The Squabbles of Chioggia_ ("The Drama", August, 1914) + + R* Giacosa, _The Wager_ (Samuel French) + + +French + + C Brueys (adaptor of 15th century anonymous), _Master + Patelin, Solicitor_ (Samuel French) + + C Moliere, _The Merchant Gentleman [Le Bourgeois + Gentilhomme]_ (Samuel French; Little, Brown; Bohn Library, + etc.) + + C* _The Affected Young Ladies [Les Precieuses ridicules]_ + + C _The Sicilian_ + + C* _Doctor Love [L'Amour Medecin]_ + + C* _The Doctor in Spite of Himself [Le Medecin malgre lui]_ + + C _The Imaginary Invalid [Le Malade imaginaire]_ (Samuel + French; Little, Brown; Bohn Library; Putnam, etc., publish + the above five titles) + + C* Dancourt, _Woman's Craze for Titles_ (in "The Drama"; + Historical Publishing Company, 1903, vol. viii.) + + C* Le Sage, _Crispin, His Master's Rival_ (Samuel French) + + CR* Marivaux, _The Legacy_ (Samuel French) + + CR De Musset, _Fantasio_ (Dramatic Publishing Company) + + CR* _The Green Coat_ (Samuel French) + + C Augier, _M. Poirier's Son-in-law [Le Gendre de M. + Poirier]_ (in "Four Plays by Emile Augier", published by + Alfred A. Knopf, and in "Chief European Dramatists", + published by Houghton Mifflin) + + CR* Banville, _Gringoire_ (Dramatic Publishing Company; + Samuel French) + + CR* _Charming Leandre_ (Samuel French) + + C Sardou, _A Scrap of Paper_ [_Les Pattes de mouche_] + (Samuel French) + + CR _The Black Pearl_ (Samuel French) + + CR* Feuillet, _The Fairy_ (Samuel French) + + CR* Rivoire, _The Little Shepherdess_ (Samuel French) + + CR Rostand, _The Romancers_ (Samuel French; Walter H. + Baker; Heinemann) + + C* France, _The Man Who Married a Dumb Wife_ (Lane) (F) + + C* Picard, _The Rebound_ (Samuel French) + + CR Zamacois, _The Jesters_ (Brentano) (F) + + SR* Bouchor, _A Christmas Tale_ (Samuel French) + + CR* Coppee, _The Violin-Maker of Cremona_ (Samuel French) + + SR* _Pater Noster_ (Samuel French) + + SR* Theuriet, _Jean-Marie_ (Samuel French) + + +Danish + + C Holberg, _The Loquacious Barber_ ("The Drama", Victorian + edition) + + C _Captain Bombastes Thunderton_ (in "Three Comedies by + Ludvig Holberg", published by Longmans) (Requires cutting) + + CR Hertz, _King Rene's Daughter_ (Samuel French) + + +German + + CR Lessing, _Minna von Barnhelm_ (in Bohn Library, + Macmillan) + + C _The Scholar_ (in Bohn Library) + + C Schiller, _Nephew or Uncle_ (Walter H. Baker) + + +English + + S Anonymous, _Everyman_ (Everyman's Library; Dutton) + + R Lyly, _Alexander and Campaspe_ (Scribner, and in + Everyman's Library) (Requires cutting) + + R Greene, _Friar Bacon and Friar Bungay_ (Dutton) (Requires + cutting) + + CR Beaumont and Fletcher, _The Knight of the Burning Pestle_ + (Scribner; Everyman's Library; etc.) (Requires cutting) + + CR Dekker, _Old Fortunatus_ (Scribner) (Requires cutting) + + CR _The Shoemaker's Holiday_ (Scribner; Dutton) (Requires + cutting) + + CR Heywood _The Fair Maid of the West_ (Scribner) (Requires + cutting) + + SR Jonson, _The Sad Shepherd_ (Dutton) (Requires cutting) + + CR _The Case is Altered_ (in any complete set of Ben Jonson) + (Requires cutting) + + Shakespeare (no plays need be mentioned. The "Ben Greet + Shakespeare for Amateurs" contains good directions for + staging and acting) + + C Udall, _Ralph Roister Doister_ (Macmillan; Dent) (Requires + cutting) + + CR Goldsmith, _The Good-natured Man_ (in any edition of + Goldsmith's plays) + + CR _She Stoops to Conquer_ (in any edition of Goldsmith's + plays) + + CR Sheridan, _The Rivals_ (in any edition of Sheridan's + plays) + + C _The School for Scandal_ (in any edition of Sheridan's + plays) + + C _The Critic_ (in any edition of Sheridan's plays) + + CR Pinero, _Trelawney of the 'Wells'_ (Dramatic Publishing + Company) (F)[12] + + [12] Apply to Sanger & Jordan, 1432 Broadway, New York, for + acting rights. + + CR Housman, _A Chinese Lantern_ (Dramatic Publishing + Company) (F) + + CR* _Bird in Hand_ (Samuel French) (F) + + SRD* _A Likely Story_ (Samuel French) (F) + + CR* _As Good as Gold_ (Samuel French) (F) + + SRD* _The Snow Man_ (Samuel French) (F) + + SR* _Nazareth_ (Samuel French) (F) + + SR* _The Lord of the Harvest_ (Samuel French) (F) + + SR* _The Return of Alcestis_ (Samuel French) (F) + + CR (and Barker), _Prunella_ (Little, Brown) (F) + + CR Shaw, _The Devil's Disciple_ (Brentano) (F)[13] + + CR Parker, _Pomander Walk_ (Samuel French) (F) + + CR* Barrie, _Pantaloon_ (Scribner) (F)[13] + + [13] Apply to American Play Company, 33 West 42nd St., New + York. + + CR Bennett and Knoblauch, _Milestones_ (Doran) (F) + + CR Noyes, _Sherwood_ (Stokes) (F) + + CR Tennyson, _The Princess_ (in any complete edition of + Tennyson) + + CR _The Foresters_ (in any complete edition of + Tennyson) + + SR* _The Falcon_ (in any complete edition of Tennyson) + + R* Lord Dunsany, _The Gods of the Mountain_ (Little, Brown) + (F) + + CR* _The Lost Silk Hat_ (Little, Brown) (F) + + CRD* _The Glittering Gate_ (Little, Brown) (F) + + R _King Argimenes and the Unknown Warrior_ (Little, + Brown) (F) + + RS* Yeats, _The Land of Heart's Desire_ (Macmillan; Samuel + French) + + CD* _The Pot of Broth_ (Macmillan) (F)[14] + + RS* _Deirdre_ (Macmillan) (F)[14] + + RS* _The King's Threshold_ (Macmillan) (F)[14] + + [14] Apply to Samuel French, 28 West 38th St., New York. + + CRD* Lady Gregory, _The Rising of the Moon_ (Putnam) (F)[15] + + CD* _The Workhouse Ward_ (Putnam) (F)[15] + + SRD* _The Travelling Man_ (Putnam) (F)[15] + + CD* _Spreading the News_ (Putnam) (F)[15] + + CD* _The Jackdaw_ (Putnam) (F)[15] + + CD* _Hyacinth Halvey_ (Putnam) (F)[15] + + SD* Hyde, _The Lost Saint_ (Scribner) + + SD* _The Twisting of the Rope_ (Poet Lore) + + CD* Mayne, _The Turn of the Road_ (Luce) (F) + + CD _The Drone_ (Luce) (F) + + SD* Synge, _The Shadow of the Glen_ (Luce) (F)[15] + + CD Boyle, _The Building Fund_ (Gill, Dublin) (F) + + RC* Downs, _The Maker of Dreams_ (Samuel French) (F)[15] + + +Sanskrit + + SR Kalidasa, _Sakountala_ (Walter Scott, London; and + Everyman's Library) + + +Bengali + + RS Tagore, _The Post-Office_ (Macmillan) (F)[15] + + [15] Apply to Samuel French, 28 West 38th St., New York. + + +MODERN PLAYS (NINETEENTH AND TWENTIETH CENTURIES, IN WHICH THE COSTUMES +AND SETTINGS ARE MODERN) + + +Italian + + S Giacosa, _As the Leaves_ (in "The Drama No. 1, and by + Little, Brown) + + S _The Stronger_ (in "The Drama", May, 1913, and by Little, + Brown) + + +French + + C* Augier, _The Post-Script_ (Samuel French, and in "Four + Plays by Emile Augier", Alfred A. Knopf) + + SC _The House of Fourchambault_ (Samuel French, and in + "Four Plays by Emile Augier", Alfred A. Knopf) + + CR* Meilhac and Halevy, _Indian Summer_ (Samuel French) + + CR* _Panurge's Sheep_ (Samuel French) + + CR* Feuillet, _The Village_ (Samuel French) + + C* Labiche, _The Two Cowards_ (Samuel French) + + C* _Grammar_ (Samuel French) + + C Pailleron, _The Art of Being Bored_ (Samuel French) + + C* Bernard, _French Without a Master_ (Samuel French) + + C* _I'm Going!_ (Samuel French) + + C* Donnay, _They!_ (In "Lovers, The Free Woman, and They!" + (Little, Brown) + + S France, _Crainquebille_ (Samuel French) + + C* Maurey, _Rosalie_ (Samuel French) + + C* Hervieu, _Modesty_ (Samuel French) + + S Capus, _The Adventurer_ ("The Drama", November, 1914) + + C _Brignol and his Daughter_ (Samuel French) + + C* Caillavet, _Choosing a Career_ (Samuel French) + + +German + + SC Freytag, _The Journalists_ ("The Drama", February, 1913) + + RC* Sudermann, _The Far-Away Princess_ (in "Roses", Scribner, + and separately, by Samuel French) (F) + + S* _Fritzchen_ (in "Morituri", Scribner) + + C* Benedix, _The Law-Suit_ (Samuel French) + + C* _The Third Man_ (Samuel French) + + C* Gyalui, _After the Honeymoon_ (Samuel French) + + +Scandinavian + + S* Strindberg, _The Stronger_ (Scribner) (F) + + SB _Lucky Pehr_ (Stewart and Kidd) (F) + + SC Bjoernson, _The Newly-Married Couple_ (Everyman's Library; + Dutton) + + C _Love and Geography_ (Scribner) + + S Ibsen, _An Enemy of the People_ (Scribner) + + +Russian + +C* Tchekoff, _The Boor_ (Samuel French; Scribner) + +C* _A Marriage Proposal_ (Samuel French; Scribner) + +C* _The Tragedian in Spite of Himself_ (Scribner) + +C* Andreyev, _The Dear Departing_ (Henderson, London), and + [same play] _Love of One's Neighbor_ (Boni, New York) + + +English + + C Pinero, _The Schoolmistress_ (Walter H. Baker) (F) + + C _The Magistrate_ (Walter H. Baker) (F) + + CS _The Benefit of the Doubt_ (Dramatic Publishing + Company) (F) + + C _The Amazons_ (Walter H. Baker) (F) + + C _Dandy Dick_ (Walter H. Baker) (F) + + C Jones, _The Manoeuvres of Jane_ (Samuel French) (F) + + CS _The Liars_ (Samuel French) (F) + + C _Dolly Reforming Herself_ (Samuel French) (F) + + C Wilde, _The Importance of Being Earnest_ (Walter H. + Baker; Nichols; Luce; Putnam; and French)[16] + + C* Sutro, _The Bracelet_ (Samuel French; Brentano) + (F--Samuel French) + + C* Sutro, _The Man on the Kerb_ (Samuel French; Brentano) + (F--Samuel French) + + C* _A Marriage Has Been Arranged_ (Samuel French; + Brentano) (F--Samuel French) + + CR* Barrie, _The Will_ (Scribner) (F)[16] + + CR* _The Twelve-Pound Look_ (Brentano) (F)[16] + + [16] Apply to Sanger & Jordan. + + CR _The Admirable Crichton_ (Doran) (F)[17] + + CR _Quality Street_ (Doran) (F)[17] + + [17] Apply to Sanger & Jordan. + + C Shaw, _You Never Can Tell_ (Brentano) (F)[18] + + CR _Candida_ (Brentano) (F)[18] + + C* _Press Cuttings_ (Brentano) (F)[18] + + C* _How He Lied to Her Husband_ (Brentano) (F)[18] + + CR _Arms and the Man_ (Brentano) (F)[18] + + [18] Apply to American Play Co. + + S Barker, _The Voysey Inheritance_ (Little, Brown) (F) + + SC Bennett, _What the Public Wants_ (Doran) (F) + + RC _Milestones_ (Doran) (F) + + S _Cupid and Commonsense_ (Doran) (F) + + C _The Great Adventure_ (Doran) (F) + + C* _Polite Farces_ (Doran) (F) + + S Baker, _Chains_ (Luce) (F) + + S* Gibson, _Mates_ (Macmillan) (F) + + S* _On the Road_ (Macmillan) (F) + + C Hankin, _The Cassilis Engagement_ (Samuel French) (F) + + C _The Return of the Prodigal_ (Samuel French) (F) + + C _The Charity that Began at Home_ (Samuel French) (F) + + C* Houghton, _The Dear Departed_ (Samuel French) (F) + + C* _The Fifth Commandment_ (Samuel French) (F) + + C* _Phipps_ (Samuel French) (F) + + SC Houghton, _Independent Means_ (Samuel French) (F) + + S Galsworthy, _The Silver Box_ (Scribner) (F)[19] + + C _Joy_ (Scribner) (F)[19] + + SC Hamilton, _Just to Get Married_ (Samuel French) (F) + + SC* Chapin, _Augustus in Search of a Father_ (Gowans and + Grey, London) (F) + + DCR* Brighouse, _Lonesome Like_ (Samuel French) (F) + + SD* _The Price of Coal_ (Samuel French) (F) + + C Monkhouse, _The Education of Mr. Surrage_ (Sidgwick and + Jackson, London) (F) + + C Mason, _Green Stockings_ (Samuel French) (F) + + SD Ervine, _Jane Clegg_ (Holt) (F) + + DCR* Fenn and Pryce, _'Op o' me Thumb_ (Samuel French) (F) + + +American + + S Gillette, _Secret Service_ (Samuel French) (F) + + S _Held by the Enemy_ (Samuel French) (F) + + C _Too Much Johnson_ (Samuel French) (F) + + C MacKaye, _Anti-Matrimony_ (Stokes) (F) + + C Thomas (A. E.), _Her Husband's Wife_ (Doubleday, Page) + (F)[19] + + [19] Apply to Samuel French for producing rights. + + S* Middleton, _The Failures_ (Holt) (F)[20] + + S* _The Groove_ (Holt) (F)[20] + + S* _Tradition_ (Holt) (F)[20] + + [20] Apply to Samuel French for producing rights. + + C* Macmillan, _Short Plays_ (Stewart and Kidd) (F) + + C Forbes, _The Commuters_ (Samuel French) (F) + + C _The Traveling Salesman_ (Samuel French) (F) + + S Klein, _The Lion and the Mouse_ (Samuel French) (F) + + R Thomas, _Arizona_ (Dramatic Publishing Company) (F) + + RD _Alabama_ (Dramatic Publishing Company) (F) + + C _Mrs. Leffingwell's Boots_ (Samuel French) (F) + + C _The Other Girl_ (Samuel French) (F) + + C _Oliver Goldsmith_ (Samuel French) (F) + + C _The Earl of Pawtucket_ (Samuel French)(F) + + C _The Capitol_ (Samuel French) (F) + + + COLLECTED VOLUME OF PLAYS + +1. _Representative One-Act Plays by American Authors_, edited by +Margaret G. Mayorga (Little, Brown), contains a large number of suitable +plays for amateurs. Among these are: + + R* _Sam Average_, by Percy MacKaye (F) + + R* _Six Who Pass While the Lentils Boil_, by Stuart Walker + (F) + + S* _In the Zone_, by Eugene O'Neill (F) + + R* _The Wonder Hat_, a Harlequinade by Ben Hecht and Kenneth + Sawyer Goodman (F) + + C* _Suppressed Desires_, by George Cram Cook and Susan + Glaspell (F) + + S* _The Last Straw_, by Bosworth Crocker (F) + +2. _Representative One-Act Plays by British and Irish Authors_, edited +by Barrett H. Clark (Little, Brown), contains, among others, the +following plays suited to the requirements of amateurs: + + R* _The Widow of Wasdale Head_, by Arthur Pinero (F) + + C* _Rococo_, by Granville Barker (F) + + R* _The Snow Man_, by Lawrence Housman (F) + + C* _Fancy Free_, by Stanley Houghton (F) + +3. _Fifty Contemporary One-Act Plays_, edited by Frank Shay and Pierre +Loving (Stewart-Kidd), includes the following plays for amateurs: + + C* _Literature_, by Arthur Schnitzler (F) + + C* _Francoise' Luck_, by Georges de Porto-Riche (F) + + S* _Mary's Wedding_, by Gilbert Carman (F) + + C* _A Sunny Morning_, by the Quinteros (F) + + + + + APPENDICES + + + APPENDIX I + + COPYRIGHT AND ROYALTY + +The following statement regarding royalties on amateur plays was +prepared by Mr. Allen J. Carter, an attorney of Chicago, for one of the +Drama League pamphlets listing amateur plays: + + "The copyright law of the United States requires that every + play, whether published or unpublished, for which copyright + protection is claimed, must be registered in the copyright + office at Washington, D.C. Until such registration, no action + for infringement of copyright can be maintained. The register of + copyrights keeps a complete record and index of all copyright + entries and publishes a catalogue of such entries at regular + intervals. Dramatic works are entered under Class D and are + found indexed under that heading in Part I, Group II of the + catalogues. Copies of these catalogues are on file in most of + the larger public libraries, and sets or parts of sets may be + purchased from the Superintendent of Public Documents at + Washington, D.C. Anyone wishing to learn whether a particular + play has been properly entered for copyright need only consult a + set of these catalogues. If such a set is not available, the + information will be promptly furnished by the register of + copyrights, Washington, D.C, upon request. + + "Whenever a play has been published, examination of a copy of an + authorized printed edition will disclose whether such play has + been properly copyrighted. The law requires that a notice of + copyright must be placed either upon the title page, or upon the + page immediately following, of each copy published or offered + for sale in the United States. Such notice must consist either + of the word 'Copyright' or the abbreviation 'Copr.', accompanied + by the name of the copyright proprietor and the year in which + copyright was secured by publication. If published prior to + March 4, 1909, the notice may also be in the following form: + 'Entered according to Act of Congress in the year ----, by A. B. + in the office of the Librarian of Congress at Washington.' + Whenever the author of a play or anyone to whom he has assigned + his rights publishes such play without proper notice of + copyright in some one of the three authorized forms above + mentioned, the play then and forever after becomes the property + of the public and may be performed and printed at will by + anyone. No subsequent attempt to copyright such play would be + valid, and any valid copyright previously secured would be + vitiated. + + "A play which has never been published nor offered for sale, and + which exists only in manuscript form, may be copyrighted upon + proper entry being made at the copyright office in Washington, + D.C. Should such play be later published, however, the + publication must comply with all the requirements of the law as + to notice of copyright. + + "Any person who infringes the copyright in any play shall be + liable: (a) To an injunction restraining said infringement; (b) + to pay actual damages to the copyright proprietor, or in place + of actual damages $100.00 for the first infringing performance + and $50.00 for each succeeding one; (c) to imprisonment not to + exceed one year, or to a fine not to exceed $1,000.00, or both, + wherever such person has infringed such copyright wilfully and + for profit. + + "It follows, therefore, that if any group of amateurs perform a + copyrighted play without having obtained the consent of the + author or copyright proprietor, they are collectively liable to + damages of at least $100.00 under whatever conditions the + performance is given. If they do it wilfully and for profit, + they are in addition each individually liable to fine and + imprisonment under the criminal provision of the act." + + + APPENDIX II + + A NOTE ON MAKE-UP + +Make-up as an art and a science does not properly fall within the scope +of the present volume. However, it has been thought advisable to insert +at this place sections from an interesting paper on make-up by one who +has made a thorough study of the subject. The author acknowledges his +obligation to Miss Grace Griswold, who wrote the article, for permission +to make this use of it. + + _How and Where Lines Come + into the Face + A Study in Make-up + by + Grace Griswold_ + +Nearly all great actors are masters of make-up. They must be, for the +illusions of the stage are no less pictorial than those of painting and +sculpture, with the added elements of movement and voice, all of which +must be brought into working harmony with the thought and feeling of the +part, in a perfect portrayal. Any serious incongruity in externals is +felt at once, and destroys the illusion. + +Women have not done as much as men in facial transformation, except in +the way of burlesque and grotesquerie. Women's make-ups, on the whole, +are far more conventional. The female face is more difficult to change +without revealing the tricks. Heavy furrows and deep coloring are +possible only for low types. Men can effect great changes by the use of +beards and moustaches. A woman's art must be far subtler. + +Look at the men across the way.[21] Notice their eyes. We always see the +eyes first, although the mouth is a more unerring key to character. The +mouth for emotions and impulses, and the eyes for thoughts. As the mouth +is the gateway of the soul, so the eyes are its windows, but, like all +windows, their function is rather to give light and view to the interior +than to expose it to the impertinence of passers-by.... His level brows, +which show him to be of a practical or scientific turn of mind, are +deeply contracted. So much so, that not only are there two perpendicular +lines between them, but one across the top of the nose as well. The +heavy bone formation which the brows outline, indicates rare powers of +observation. But this man has come a cropper. See how restless and +unseeing are his eyes! He is searching for a solution to the problem +which is troubling him. It is a purely intellectual problem, for the +mouth, which is the indication of the emotions and passions, is +unaffected by what is going on above. There is nothing sinister about +the problem: you see that the eyes are wide open. Now it is settled, +because he appears focussed: he is following a single line of thought. + + [21] It was imperative that the long article be abridged. The + reference here is to Miss Griswold's first sentence: "... take + a ride with me in the subway, where we may perhaps glean some + impressions for character portrayal upon the stage." + +Now observe the man on the right. He too is thinking hard, but his mouth +is drawn, jaws set, eyelids puckered to a mere slit. He has been +wronged, or believes he has, and is planning retaliation. His nostrils +are dilated, his breathing heavy. Both these men are laboring under +excitement, but we cannot read their natures, because their habitual +expression is distorted. + +Do you see that dear soul opposite? There is work behind that face, work +that has brought with it health. There has been good living, but no +intemperance. See the strong muscles and the glow in the cheeks, with +their Santa Claus rotundity. There is passion, too, but it is +restrained: the lips are full, but the center line is straight. With +less control, that line would tend to sag. Melancholia is also indicated +in downward lines. In the case of this woman, the lip is perhaps too +heavy to show delicacy of character, but it shows broad sympathy, and is +redeemed by its upper consort, which reveals, except at the corners, a +cupid's bow, full of tenderness. The Venus de Milo hardly escapes +censure even with the lateral shortness of the lower lip and the +softened outlines of the upper. This woman's mouth is larger, denoting +generosity. Now look at the eyes--open just to the degree of frankness, +but not of insincerity, like those of the vapid young person across the +way. There are radiations from the corners, too: the footprints of many +a pleasant smile. The eyebrows have the sympathetic upward sweep toward +the nose, and there is a whimsical twist of the left eyebrow. +Altogether, a pleasant countenance. + +A perfectly straight compressed mouth always implies strength of will. + +Now notice the woman just beyond with her high-bred aristocratic face. +The "executive" nose, with its delicate arch, are especially indicative +of her character. The eyebrows likewise are arched, over a full +forehead; very imaginative. The eyes, slightly veiled in their +expression, show her to be plunged in deep and somewhat troubled +thought. Her eyes are veiled because she does not see clearly a way out +of her problem, but that way out will be, we are sure, something noble. +Her problem is not so exclusively an intellectual one as that of the man +we mentioned: it must be some economic or philanthropical question--her +chin is finely chiselled and held with exquisite poise, strong and at +the same time delicate. Her complexion has the "pale cast of thought", +but is not unhealthy however. The flesh lies easily upon its firm base. +It will never warp into deep furrows. See, now she has solved or put +aside her problem, for a moment, and her eyes are open and clear, and +her smile, as she recognizes a friend, is engaging and unaffected. Her +sympathies are less personal, more detached, but none the less real, +than other women's. + +And now see this man who has just entered. He, too, is an aristocrat, +but as he turns, we can observe that there is a one-sided twist to his +face. The bone formation in his face is similar to that of the woman's, +but his expression is exaggerated by a muscular habit of the mouth, +possibly occasioned by the loss of teeth. His eyes are open, but they +express impassive coldness. He has taken life with a sneer. His brows +are not arched, although one of them is artificially raised: the result, +undoubtedly, of boredom. + +Habitual good-humor ages the face in a pleasant manner. It is the only +thing that never grows old: do you remember what genial sparkling eyes +Joseph Jefferson and Mark Twain had? + +Bearing in mind these summary character studies, let us turn to the more +practical side of make-up: + +Regarding _straight_ make-up--_i.e._ make-up which is designed to offset +the glare of the lights--it can safely be asserted that most +professionals make-up too heavily. This is partially due to the fact +that the lights in the dressing-room are seldom of like intensity or +kind as those on the stage. Billie Burke and Blanche Ring occur to us as +having achieved happy results in making-up, the former with a rose-bud +prettiness of white and pink, the latter by using so little color and +blending that little so well that it is scarcely perceivable. Both these +actresses use very little rouge on the upper eyelids, an excess of which +is one of the commonest faults. The only purpose it can serve is to +soften the upward and whitening glare of the footlights. The skilful use +of rouge is the most important and least understood of all the numerous +elements of this art. First as to shade, most of the rouge used is blue. +It does not blend with most powders, but produces a hard contrast, and +appears unnatural. The placing of the rouge, too, is very important in +obviating natural defects of proportion in the features, which distances +always intensify. Any spot left white is projected as if with a +high-light. If the nose is too wide, it can be narrowed by shading the +rouge up to its center line. If it is too prominent, it will be less +apparent if shaded slightly all over. The same rule applies to the chin, +the jaw, the ears, and the forehead. Some people lay in a general +foundation of grease rouge before putting anything else on, but this is +likely to give a muddy effect. If used only on the cheeks, with the dry +rouge over all for shading, the effect is far more natural. Some also +lay in a foundation of pink paste--called "Exora"--but the result is +nearly always pasty, and should never be used except to cover some +blotchiness. The lighter the make-up, the greater opportunity will there +be for mobility of expression. + +The same moderation should be exercised in making up the eyes and mouth. +Brown on the lashes and eyebrows is softer than black, especially for +blondes. Heavy black leading above and below, accentuated by broad +shadows on the lids of dark blue, make them look like burnt holes a +short distance away. Few eyes are large enough to stand it, and those +that are, do not require it. A little light or dark blue close to the +lashes of the upper lid is necessary, but very few eyes need any make-up +at all on the lower lid, except a faint shadow, perhaps, of light blue. +A little dab of lip rouge in the inner corners of the eye adds an effect +of brilliancy. If the eye itself slants, it can be straightened by a +line of brown or black, drawn in the opposite direction, and beginning +just inside the outer corners. The line of the upper lids and the +eyebrows should be extended in almost every case, to give an effect of +breadth to the eyes. + +If the face needs lengthening and the eyebrows are not too heavy, they +can be covered with flesh-colored grease paint, and another pair painted +above them. There is danger in this, however, of opening the frame of +the eyes too much and giving them a foolish expression. The arched brow +tends to elongate, the level, broad effect to shorten, the face. + +The mouth also needs careful treatment. As to color: the dark red rouge +so often used gives the appearance of a bloody gash. The English hunting +red, a sort of bluish vermilion, is best, because most natural. Only the +very smallest mouths can stand being made up to the corners, because in +smiling, the mouth stretches, and will look too large if deeply colored +all the way across. + +A line of white grease paint drawn down the bridge of the nose will +straighten it; or, if it be too small, lengthen it. The nose may also be +completely transformed by putty. + +This brings us to what is known as the "character" make-up. Here again +one is confronted by numberless problems regarding the use of colors. At +best, character make-up is only the adjustment of one physiognomy to the +habitual expression of another: complete transformation is out of the +question. Nevertheless, the human face, being mobile, may assume +expressions which are not habitual to it. However, it must be borne in +mind that to superimpose a purely imaginary countenance over a natural +one, regardless of what that natural one is, is a fatal mistake, because +when the natural face attempts to express itself under the other, the +effect will be lost. + +To return a moment to the problem of color: illusion is frequently lost +through a failure to adjust the shade of the high-light and shadow to +the tone of the foundation grease paint, or natural complexion. The +commonest offence is the use of an unmixed, unblended slate for shadows, +and white, and high-lights, whether the underlying color be florid, +sallow, pink, or pale flesh. The result of such treatment is merely +paint. + +The whole art of making-up is still hide-bound by tradition, because of +stupid ideals which persist in the minds of those whose business it is +to direct, as well as many in the acting profession itself. + + + + + INDEX + + + + + INDEX + + + "Alcestis", 4 + + Aristophanes, 5 + + Art adviser, 17 + + "Art of Being Bored, The", 48 + Quoted, 53, 54-57 + Stage grouping of, 54-57 + + "As You Like It", 2 + + + Backgrounds, 106-107 + + Barker, Granville, 6 + + Belasco, David, 89, 106 + + "Blocking out", 24, 61 + Example of, 24-33 + + "Blue Bird, The", 108 + + "Box sets", 82, 89, 91, 100 + + "Brignol and His Daughter", Setting for, 102, 103 + + Business manager, Duties of, 11-12, 14 + + + "Call Boy", Duty of, 16 + + Capus, Alfred, 102 + + Cast, Ability of, 2 + Selection of, 19, 20 + Size of, 2 + + "Chantecler", 108 + + Characterization by amateurs, 2, 3, 4 + + Cheney, Seldon, 76 (_Note_), 77 + + Classics, 2, 3, 4 + + "Clouds, The", 5 + + Coach, Selection of, 20, 21 + + Comedies, 4 + + "Comedy of Errors, The", 2, 3, 5 + Setting for, 93-94 + + Costume man, Duties of, 10, 14, 15, 17 + + Costumes, 14-15 + Accuracy of, 108-109 + + "Costumes and Scenery for Amateurs", 81 + + Craig, Gordon, 102 + + Crowds or large groups, Rehearsing of, 15, 58, 59 + + Curtain man, Duties of, 10 + + Cyclorama, 78-81, 84, 88 + Construction of, 78, 79-80, 81 + Description of, 78 + Value of, 78 + + + De Vega, Lope, 4 + + Deutsches Theater (Berlin), 95 + + Diagram, Making of, 40-46, 60 + + Director, Duties of, 8-10, 14, 16, 17, 20, 23, 24, 28, 34, 52, 58, 59, + 64, 67, 73 + + "Doctor in Spite of Himself", 5 + + "Doll's House, A", 2 + + Draperies, 80, 83, 92, 98 + + + "Electra", 4 + + Electrician, 13 + + Euripides, 4 + + + "Fan, The", 5 + + "Far-away Princess, The", Setting for, 100-101 + + Farces, 4 + + Footlights, 86, 87, 89 + Boxed, 84 + + Fortuny lighting system, 86, 88 + + Furniture, Handling and setting of, 15 + + + Goldoni, 4, 5 + + Gregory, Lady, 90 + + Grouping actors, 48, 58, 59, 61 + Examples of, 50-52, 53-57, 58-59, 63 + + + "Hamlet", 4 + + Handling and setting of scenery and furniture, 15, 17 + + + Imitation of Professionals, 68, 69 + + "Importance of Being Earnest, The", 3 + "Blocked out", 28-34 + Quoted, 24-28 + + "Indian Summer", Quoted, 71-72 + + Interpretation by amateurs, 69-70 + + + Jones, Henry Arthur, 3, 46, 47, 48 + + "Julius Caesar", Costumes of, 108 + Grouping in, 58-59 + + + Klein, Charles, 89 + + Kotzebue, 4 + + + "Le Bourgeois Gentilhomme," 3,5 + + Lessing, 4, 5 + + Lessing Theater, Berlin, 107 + + "Liars, The", 3, 46, 47 + Quoted, 46, 50 + Stage grouping of, 49-52 + + Lighting, Stage, 76, 78-79, 85, 89 + Examples of, 89, 90 + Fortuny system of, 86, 88 + Kinds of: + Arc, 88 + Border, 86 + Calcium, 88 + Footlights, 84, 86, 87, 89 + + Lightman, Duties of, 10, 13-14, 15 + + "Lysistrata", 5 + + + MacKay, Constance D'Arcy, 82 + + "Magistrate, The", 4 + + "Man and Superman", 4 + + "Marrying of Ann Leete, The", 6 + + "Merchant of Venice, The", 85 + + "Milestones", 109 + + "Minna von Barnhelm", 5 + + "Modern Movement in the Theatre, The", 76 (_Note_) + + Modern plays, 4, 6 + + Moderwell, Hiram Kelly, 76 (_Note_), 77 + Quoted, 86-87 + + Modulation, Example of, 71-72 + + Moliere, 3, 4, 5 + + Music, 15, 17 + + "Music Master, The", Lighting of, 89 + + + Original Plays, 6 + + + Pailleron, Edouard, 48 + + "Peer Gynt", Setting for, 107 + + Performance, Essentials of, 74 75 + + "Phormio", 5 + + Plautus, 5 + + Plays, "Cutting", 23 + + Plays, Kind of, 8-7 + Classic, 2, 3, 4, 5, 6, 14 + Comedies, 4 + Farces, 4 + Modern, 4, 5 + Original, 6 + Problem, 4 + Sex, 4 + Thesis, 4 + Translated, 6 + Reading of, 23-24 + + Plotting the stage, Examples of, 41-45, 49-52 + + Problem plays, 4 + + Prompt-copy, Making of, 34 + + Prompter, Duty of, 75 + + Property man, Duties of, 10, 12, 13, 15, 75 + + Proscenium, 81 + Alteration of, 81, 82, 83, 84, 103-104 + Diagrams of, 82, 83 + + + Rehearsals, 15, 22, 58, 59, 61, 66, 67, 68, 70 + First, 22-24, 61 + Second, 24, 61, 66 + Dress, 73, 74 + Scene and light, 74 + + Reinhardt, Max, 95, 106 + + Revolving stage, 85 + + "Rising of the Moon, The", Lighting of, 90 + + "Rivals, The", 3, 5 + + "Romancers, The", 15, 106, 108 + Setting for, 97-99 + + Rostand, 13, 97, 108 + + + Scenery, Handling and Setting of, 15, 17 + + "Scrap of Paper, A", Setting for, 104-105 + + Screens, 83, 92, 102-103, 104 + + Settings, Stage, 77, 81, 82, 83, 85, 89, 91 + "Box sets", 82, 89, 91 + Examples of, 93-94, 95-97, 97-99, 100-101, 102-106 + + Sex plays, 4 + + Shakespeare's plays, Settings for, 92, 98-94, 94-97, 97-99, 106 + Stage business of, 52 + + Shaw, G. Bernard, 3, 13, 34, 47 + + Sheridan, Richard Brinsley, 3, 5 + + "She Stoops to Conquer", 5 + + Simpson, J. Palgrave, 104 + + Sophocles, 4 + + Staff, Duties of members of, 9-17, 73-75 + Head of (Director) 8-10 + Organization of, 8-16 + + Stage, Physical requirements of, 76 + Revolving, 85 + Wagon, 85 + + Stage "business", 52, 61, 62, 64, 66, 69-70, + Examples of, 62, 63-64, 65 + How to remember, 60 + + Stage directions, 28 (_Note_) + For "You Never Can Tell", 35-40 + + Stage grouping, _see_ GROUPING + Lighting, _see_ LIGHTING + Manager, Duties of, 10-11, 13, 14, 15, 16, 22, 23, 28, 74 + Settings, _see_ SETTINGS + + Sudermann, Hermann, 100 + + "Sumurun", Background for, 106 + + + Terence, 5 + + "Theatre of To-day, The", 76 (_Note_), 79 + + Thesis plays, 4 + + Translations, 6 + + "Twelfth Night", Settings for, 94-99, 106 + + "Twins, The", 5 + + + Understudies, 16, 21 + + + Wagon Stage, 85 + + Wardrobe mistress, _see_ COSTUME MAN + + Warfield, David, 89 + + Wilde, Oscar, 3, 24, 47 + + + "You Never Can Tell", 3, 13 + Diagram of, 40-45 + Quoted, 35-40 + Stage directions of, 40 + + + + + Transcriber Notes: + +Passages in italics were indicated by _underscores_. + +Passages in bold were indicated by =equal signs=. + +Small caps were replaced with ALL CAPS. + +Throughout the dialogues, there were words used to mimic accents of the +speakers. Those words were retained as-is. + +The illustrations have been moved so that they do not break up +paragraphs and so that they are next to the text they illustrate. Thus +the page number of the illustration might not match the page number in +the List of Illustrations, and the order of illustrations may not be the +same in the List of Illustrations and in the book. + +Errors in punctuations and inconsistent hyphenation were not corrected +unless otherwise noted. + +On page 115, "Minna Von Barnhelm" was replaced with "Minna von +Barnhelm". + + + + + +End of Project Gutenberg's How to Produce Amateur Plays, by Barrett H. 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