,,how ,,to ,,produce ,,amateur ,,plays ,illustration3 ,,setting ,,for ,a ,,poetic ,,drama4 ,,by ,,sam ,,hume4 7,courtesy of the artist74 ,,how ,,to ,,produce ,,amateur ,,plays ,a ,practical ,manual ,,by ,,barrett ,h4 ,,clark ,,new ,,and ,,revised ,,edition ,illustration ,,boston ,,little1 ,,brown1 ,,and ,,company #aibc ,copyright1 #aiag1 #aibb1 ,,by ,,little1 ,,brown1 ,,and ,,company4 ,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 amateurs4 ,during the past decade a number of books dealing with the subject have been published1 but these are concerned either with theoretical and educational1 or else with limited and1 from the practical viewpoint1 unessential aspects of the question4 ,in the present manual the author has attempted an altogether practical work1 which may be used by those who have little or no knowledge of producing plays4 ,the book is not altogether limited in its appeal merely to producers2 actors themselves and others having to do with amateur producing will find it helpful4 ,the author has added a number of suggestions on a matter which is rapidly becoming of prime importance3 the construction of stages and setting1 and the manipulation of lighting4 ,it is always well to bear in mind that no art can be taught by means of books4 ,the chief purpose of this volume is to lay down the elements and outline the technique of amateur producing4 ,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 difficulty4 ,the plan of the book is simple3 each question and problem is treated in its natural order1 from the moment an organization decides to give a play1 until the curtain drops on the last performance of it4 ,this new edition of ,how to ,produce ,amateur ,plays has been revised throughout1 and the list of plays in ,chapter ,x completely re-written and brought up to date4 ,the author acknowledges his indebtedness for suggestions and help1 as well as for permission to reproduce diagrams1 photographs1 and passages from plays1 to ,mr4 ,t4 ,r4 ,edwards1 ,mr4 ,hiram ,kelly ,moderwell1 ,mr4 ,l4 ,r4 ,lewis1 ,mr4 ,clayton ,hamilton1 ,miss ,grace ,griswold1 ,miss ,edith ,wynne ,matthison1 ,mr4 ,maurice ,browne1 ,miss ,ida ,treat1 ,mr4 ,sam ,hume1 ,john ,lane ,company1 ,samuel ,french1 ,brentano's1 and ,henry ,holt and ,company4 ,,march1 #aibb ,,contents ,,chapter ,,page ,,preface v ,i ,,choosing ,,the ,,play #a ,,ii ,,organization #h ,,iii ,,choosing ,,the ,,cast #ah ,,iv ,,rehearsing ,i #bb ,v ,,rehearsing ,,ii #dh ,,vi ,,rehearsing ,,iii #gc ,,vii ,,the ,,stage #gf ,,viii ,,lighting #hf ,,ix ,,scenery ,,and ,,costumes #ia ,x ,,selective ,,lists ,,of ,,amateur ,,plays #aaj ,,appendices ,i ,,copyright ,,and ,,royalty #abg ,,ii ,a ,,note ,,on ,,make-,,up #acj ,,index #aci ,,list ,,of ,,illustrations ,,setting ,,for ,a ,,poetic ,,drama1 ,,by ,,sam ,,hume ,frontispiece ,,page ,,the ,,grotesques1 ,,by ,,cloyd ,,head4 ,,produced ,,at ,,the ,,little ,,theater1 ,,chicago #h ,,the ,,trojan ,,women ,,of ,,euripides4 ,,produced ,,at ,,the ,,little ,,theater1 ,,chicago #ah ,,captain ,,brassbound',s ,,conversion1 ,,by ,,shaw4 ,,set ,,of ,,act ,i1 ,,as ,,produced ,,by ,,the ,,neighborhood ,,playhouse1 ,,new ,,york #bb ,,set ,,for ,,musset',s ,,whims4 ,,produced ,,by ,,the ,,washington ,,square ,,players #dh ,,sister ,,beatrice ,,of ,,maeterlinck4 ,,produced ,,at ,,the ,,western ,,reserve ,,college ,,for ,,women #gd ,,two ,,views ,,of ,,the ,,stage ,,at ,,tufts ,,college1 ,,showing ,,plenty ,,of ,,open ,,space ,,for ,,the ,,storing ,,and ,,shifting ,,of ,,scenery #gf ,,an ,,ordinary ,,box-,,set4 ,,from ,,dumas ,,fils' ,,the ,,money ,,question4 ,,produced ,,at ,,tufts ,,college #hj ,,scenes ,,from ,,euripides' ,,electra4 ,,produced ,,at ,,illinois ,,state ,,college #ij ,,two ,,views ,,of ,,the ,,stage ,,at ,,the ,,university ,,of ,,north ,,dakota #ajf ,,how ,,to ,,produce ,,amateur ,,plays ,,chapter ,i ,,choosing ,,the ,,play ,the first important question arising after the decision to give a play1 is ,what play8 ,only too often is this question answered in a haphazard way4 ,of recent years a large number of guides to selecting plays have made their appearance1 most of which are incomplete and otherwise unsatisfactory4 ,the large lists issued by play publishers are bewildering4 ,toward the end of the present volume is a selective list of plays1 all of which are1 in one way or another1 worth while2 but as conditions differ so widely1 it is practically impossible to do otherwise than merely indicate in a general way what sort of play is suggested4 ,each play considered by any organization should be read by the director or even the whole club or cast1 after the requisite conditions have been considered4 ,these conditions usually are3 #a4 ,size of the ,cast4 ,this is obviously a simple matter3 a cast of ten cannot play ,shakespeare4 #b4 ,ability of the ,cast4 ,this is a little more difficult4 ,while it is a laudable ambition to produce ,ibsen1 let us say1 no high-school students are sufficiently mature or skilled to produce ,a ,doll's ,house4 ,as a rule1 the well-known classics--,shakespeare1 ,moliere1 ,goldoni1 ,sheridan1 ,goldsmith--suffer much less from inadequate acting and production than do modern dramatists4 ,the opinion of an expert1 or at least of some one who has had experience in coaching amateur plays1 should be sought and acted upon4 ,if1 for example1 ,as ,you ,like ,it is under consideration1 it must be borne in mind that the role of ,rosalind requires delicate and subtle acting1 and if no suitable woman can be found for that part1 a simpler play1 like ,the ,comedy of ,errors1 had much better be substituted4 ,modern plays are on the whole more difficult3 the portrayal of a modern character calls for greater variety1 maturity1 and skill than the average amateur possesses4 ,the characters in ,moliere's ,le ,bourgeois ,gentilhomme 7,the ,merchant ,gentleman71 ,shakespeare's ,the ,comedy of ,errors1 ,sheridan's ,the ,rivals1 are more or less well-known types1 and acting of a conventional and imitative kind is better suited to them4 ,on the other hand1 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 ,liars4 ,still1 there are many modern plays--among them1 ,shaw's ,you ,never ,can ,tell and ,wilde's ,the ,importance of ,being ,earnest--in which no great subtlety of characterization is called for4 ,these can be produced as easily by amateurs as can ,shakespeare and ,sheridan4 #c4 ,the ,kind of ,play to be presented usually raises many questions which are entirely without the scope of purely dramatic considerations4 ,in this country especially1 there is a studied avoidance among schools and often among colleges and universities1 of so-called unpleasant plays4 ,without entering into the reasons for this aversion1 it is rather fortunate1 because as a general rule1 thesis1 sex1 and problem plays are full of pitfalls for amateur actors and producers4 ,while it is a splendid thing to believe no play too good for amateurs1 some moderation is necessary where a play under consideration is obviously beyond the ability of a cast3 ,hamlet ought never to be attempted by amateurs1 nor such subtle and otherwise difficult plays as ,man and ,superman4 ,plays of the highest merit can be found which are not so taxing as these4 ,there is no reason why ,sophocles' ,electra1 ,euripides' ,alcestis1 or the comedies of ,lope de ,vega1 ,goldoni1 ,moliere1 ,kotzebue1 ,lessing1 not to mention the better-known ,english classics1 should not be performed by amateurs4 ,it goes without saying that the facile1 trashy1 popular comedies of the past two or three generations are to be avoided by amateurs who take their work seriously4 ,this does not mean that all farces and comedies should be left out of the repertory3 ,the ,magistrate and ,the ,importance of ,being ,earnest are among the finest farces in the language4 ,the point to be impressed is that it is better to attempt a play which may be more difficult to perform than ,charley's ,aunt1 than to give a good performance of that oft-acted and decidedly hackneyed piece4 ,it is much more meritorious to produce a good play poorly1 if need be1 than a poor play well4 ,if1 after having consulted the list in this volume and similar other lists1 the club is still unable to decide on a suitable modern play1 the best course is to return to the classics4 ,it is likely that the plays that have pleased audiences for centuries will please us4 ,aristophanes' ,the ,clouds and ,lysistrata1 with a few necessary cuts2 ,plautus' ,the ,twins and ,terence's ,phormio2 ,goldoni's ,the ,fan2 ,shakespeare's ,comedy of ,errors and half a dozen other comedies2 ,moliere's ,merchant ,gentleman and ,doctor in ,spite of ,himself2 ,sheridan's ,the ,rivals and ,goldsmith's ,she ,stoops to ,conquer2 ,lessing's ,minna von ,barnhelm--almost any one of these is safe4 ,a classic can never be seen too often and1 since true amateurs are those who play for the joy of playing1 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 theater4 ,another argument in favor of the performance of the classics is that they are rarely produced by professionals4 ,if an amateur club revives a classic1 especially one which is not often seen nowadays1 it may well be proud of its efforts4 ,if1 however1 the club insists on giving a modern play1 it will have little difficulty in finding suitable material4 ,it is well not to challenge comparison with professional productions by choosing plays which have had professional runs of late2 try rather to select 7#a7 good modern plays which by reason of their subject matter1 form1 etc41 cannot under present conditions be commercially successful 7like ,granville ,barker's ,the ,marrying of ,ann ,leete72 7#b7 translations of contemporary foreign plays which are not well known either to ,american readers or producers2 and1 finally 7#c7 original plays4 ,here it is difficult to advise4 ,it cannot be hoped that an amateur club will discover many masterpieces among original plays submitted to it1 but if any of the works considered has even a touch of originality1 some good characterization1 any marked technical skill2 in a word1 if there is something interesting or promising1 then it is worth producing4 ,doubtless many beginners are discouraged from writing plays for lack of experience gained by seeing their work staged2 for such1 the amateur club is the only resource4 ,besides these particular considerations1 there remain the minor but necessary points relating to rights and royalties4 ,a full statement of the legal aspect of the case is to be found in the first appendix in this book4 ,illustration3 ,,the ,,grotesques1 ,,by ,,cloyd ,,head4 ,,produced ,,at ,,the ,,little ,,theater1 ,,chicago ,a shallow cyclorama4 ,the simple design forms an effective background for the grouping of the figures4 7,courtesy of ,maurice ,browne74 ,,chapter ,,ii ,,organization ,a great many more factors go into the making of a successful dramatic production than may at first be apparent4 ,to organize a staff whose duty it is to furnish and equip a theater1 hall1 or schoolroom2 to arrange and efficiently run rehearsals2 to supply props1 costumes1 and furniture2 to manage the stage during the performance--all this is next in importance to the acting itself4 ,of late years especially it has been made clear that the art of the theater1 although it is a collaboration of the brains and hands of many persons1 must be under the supervision of one dominating and far-seeing chief4 ,that is to say1 one person and one alone must be responsible for the entire production4 ,except in rare instances this head cannot know of and attend to each detail himself1 but it is his business to see that the whole organization is formed and managed according to his wishes4 ,the function of this ideal manager has been compared with that of the orchestral conductor3 it is he who leads1 and he should be the first to detect the slightest discord4 ,while the foregoing remarks are more strictly applicable to acting and staging1 it will readily be seen that if the same leader is not in touch with the more practical side of the production1 there is likely to arise that working at cross-purposes which has ruined many an amateur as well as professional production4 ,while a great deal of the actual work must be done by subordinates1 it should be clearly understood that the director has the final word of authority4 ,much in the matter of organization depends upon the number and ability and experience of those persons who are available1 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 person1 and his assistants at least willing to learn from him4 ,as a rule1 he will have plenty of material to work with4 ,the ,director4 ,the producer1 the head under whose guidance the entire work of rehearsing and organization should lie1 is called the director4 ,however1 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 rehearsing1 there must be elected or appointed an officer who is directly responsible4 ,this officer is3 ,the ,stage ,manager4 ,as the director cannot always be present at every rehearsal1 and as oftentimes two parts of the play are rehearsed simultaneously1 it is evident that another director must be ready to act in place of the head4 ,it is chiefly his duty to hold the prompt-book and keep a careful record of all stage business1 cuts1 etc4 ,at every rehearsal he must be ready to prompt1 either lines or business--action1 gestures1 crosses1 entrances1 exits1 and the like--and call the attention of the director to omissions or mistakes of every sort4 ,in the event of the director's absence1 he becomes the pro tem4 director himself4 ,it is advisable--though not always possible--to delegate the duties of property man1 lightman1 curtain man1 costume man 7or wardrobe mistress7 to different persons2 but even when this is done1 it is better for the stage manager to keep a record of all property plots1 light plots1 furniture plots1 etc4 ,it is also the stage manager's business to arrange the time and place of rehearsals1 and hold each actor responsible for attendance4 ,on the occasion of the dress rehearsal and of the actual production1 it is the stage manager1 and not the director1 who supervises everything4 ,his position is that of commander-in-chief4 ,he either holds the book1 or is at least close by the person who actually follows the lines2 sees that each actor is ready for his entrance2 that the curtain rises and falls when it should2 that his assistants are each in their respective places2 and that the entire performance goes as it is intended to go4 ,the ,business ,manager4 ,this person attends to such matters as renting the theater--or arranging some place for the performance--printing and distributing tickets2 in short1 everything connected with the receipt and expenditure of money4 ,it is not of course imperative that he should have much to do with the director2 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 authority4 ,the business manager ought to have at least a preliminary conference with the director1 and report to him every week until a few days before the performance1 when he should be within instant call in case of emergency4 ,the property1 light1 furniture1 and costume people must naturally keep in close touch with him1 although no purchases should be made without the permission of the director1 who in this case must be at one with the club or organization4 ,the ,property ,man4 ,the duties attaching to this position are definitely and necessarily limited1 but of great importance4 ,working under the stage manager1 he supplies all the objects--such as revolvers1 swords1 letters1 etc4--in a word1 everything actually used by the actors1 and not falling under the categories of scenery1 costumes1 and furniture4 ,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 furnishings3 rugs1 hangings1 pictures1 furniture1 and so forth2 but in case there is no such person1 the property man attends to these details himself4 ,it cannot be too strongly urged that from the very first as many props1 as much furniture or as many set pieces as possible 7depending on whether the set is an indoor or outdoor one71 should be used by the actors4 ,in this way they will be better able to associate their thoughts1 words1 and gestures with the material objects with which they will be surrounded on the fatal night4 ,if this is impracticable1 that is1 if most of these objects cannot be secured from the first1 then at least suitable substitutes should be used4 ,the presence of such fundamentally important articles as the wall in ,rostand's ,the ,romancers1 and the dentist's chair in ,shaw's ,you ,never ,can ,tell1 when used from the first rehearsals1 always minimizes the danger of confusion of lines or business at the last moment4 ,the property man must keep a list of everything required2 this should be a duplicate of that in the possession of the stage manager4 ,the ,lightman4 ,sometimes even nowadays called the ,gasman4 ,he is not indispensable1 because almost always the regular electrician attends to the switchboard4 ,however1 some one should be with the electrician at the dress rehearsal and on the evening of the performance to give him the necessary light cues4 ,usually1 however1 the stage manager who holds the prompt-book where all the light cues are indicated can fulfill this function4 ,the ,costume ,man 7or ,wardrobe ,mistress1 as the case may be74 ,again the duties are simple4 ,if the play is a classic--,shakespeare1 for instance1--the costumes1 in ninety-nine cases out of a hundred1 had better be rented from a regular costumer4 ,the costume man1 then1 together with the business manager1 attends to the details of renting1 and sees that all costumes are ready for the dress rehearsal4 ,if the costumes are made to order1 the matter is supervised by the costume man4 ,but1 as with everything else connected with the best amateur efforts1 there should be some expert adviser1 not so much one versed in history and archeology as an artist with an eye for color and style4 ,the director in any event must be consulted1 so that lights1 scenery1 and costumes may harmonize4 ,details as to costumes are to be found in many books1 and need not here be discussed4 ,in spite of a good deal that has been written to the contrary1 historical accuracy is not of vast importance3 so long as there are no glaring anachronisms1 ,shakespeare may be presented with actors wearing pre- or post-,elizabethan costumes1 provided they are beautiful1 and harmonize4 ,among the thousand and one minor details of producing1 there are some which in large productions might be assigned to specially appointed individuals1 but most of the duties to be briefly enumerated below may easily be given over to the stage manager1 property man1 or costume man1 or even to the lightman4 ,handling and ,setting of ,scenery and ,furniture4 ,this is usually taken care of by the property man and his assistants1 under the direction of the stage manager4 ,as in every other branch of the work1 all details must be planned beforehand1 and recorded4 ,music4 ,the music cues should be marked in the stage manager's prompt-book4 ,incidental music1 whether it be on1 behind1 or off-stage in the orchestra pit1 ought to be rehearsed at least two or three times4 ,on the occasion of the performance1 the stage manager gives directions from his prompt-book for all music cues4 ,crowds or ,large ,groups4 ,the management and rehearsing of crowds or large groups is considered under ,rehearsing 7p4 #eh74 ,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 time4 ,among the further details which must be looked after are the duties which are sometimes left to the stage manager3 the ringing of bells1 calling of actors at the regular performance1 etc4 ,a call boy may be delegated to do this4 ,understudies4 ,trouble is always likely to arise1 especially among amateurs1 because there is no effective method of holding the actors to strict account4 ,often1 one or more of the cast finds1 or thinks he finds1 good reason for leaving it1 and a new actor must sometimes be found and trained to fill the vacancy on perilously short notice4 ,sickness or indisposition invariably give rise to the same problem4 ,if possible1 an entire second cast should be trained1 so that any member of it could at a moment's notice be called upon to play in the first cast4 ,while this second company should be letter-perfect and know the business in every detail1 it is not necessary that their acting be so finished and detailed as that of the others4 ,understudy rehearsals are under the direction of the stage manager1 although the director should witness at least two or three4 ,since the performance depends almost wholly on the knowledge1 sympathy1 and taste of the director1 the greatest care should be taken in choosing him4 ,needless to say1 the ideal director does not exist2 still1 his attributes should be constantly borne in mind4 ,if he lacks the artist's sense of color1 rhythm1 and proportion1 then an art adviser must be called in to suggest color schemes as regards costumes1 scenery1 furniture1 and lighting4 ,nowadays1 great attention is being paid to these matters1 and the subtle effect of background and detail is much greater than is commonly supposed4 ,the play is of first importance--that must never be forgotten--but these other matters are too often neglected4 ,similarly with costumes1 music1 scenery1 it is never amiss to consult authorities4 ,but once more be it repeated1 the whole production should bear the imprint of the director's personality1 because only in this way can we hope for that essential unity of effect which is a basic principle of all art4 ,cooperation with1 but1 in the last analysis1 subserviency to1 the director1 is the keynote of success4 ,illustration3 ,,the ,,trojan ,,women1 ,,of ,,euripides4 ,,produced ,,at ,,the ,,little ,,theater1 ,,chicago4 ,effective grouping against a simple background4 7,courtesy of ,maurice ,browne74 ,,chapter ,,iii ,,choosing ,,the ,,cast ,obviously1 the choice of the cast should depend upon the ability of the actors1 although in the case of an organization like a school or college dramatic club1 this system is not always practicable or even advisable4 ,every member of such a club should be trained to work for a common end1 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 ones1 makes for harmony and completeness of effect in performances4 ,it should be one of the chief ends of amateur producing to get away from the curse of the professional stage3 the star system4 ,it has been stated here that the greatest emphasis must be laid on the play itself1 and no actor1 professional or amateur1 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 part4 ,the average actor is inclined to judge a play's merit according to the sort of part it furnishes him2 the amateur spirit has done much to do away with this attitude1 and it is to be hoped that no coach will ever do otherwise than discourage it4 ,competition as a means of selecting a cast is in most cases the best method4 ,the play once selected1 the people from among whom the cast is to be formed are assembled4 ,it is a good plan to have every one read the play first1 and make a study of at least one scene of it4 ,then1 either alone or in company with one1 two1 or three others1 he reads--or recites from memory--the scene in question1 either before the entire club or before a committee of judges4 ,each actor is judged on appearance1 ease1 voice1 and insight into the character he is portraying4 ,the judges1 seconded possibly by the members of the club 7whose votes should1 by the way1 be of only secondary importance71 then select those whom they consider best fitted for the parts4 ,in every case the director should give final sanction to the selection4 ,in cases where members must at first assume only minor parts because of club rules1 there may arise some difficulty3 for example1 a beginner may be better fitted to assume an important role than older club members4 ,such cases must of course be dealt with individually4 ,in organizations which are not run on so democratic a basis1 the director selects the cast himself4 ,on the whole1 this is much the best system1 as the director is left a free field in which to work out his own problems in his own way4 ,if it is at all possible1 an amateur club ought to put everything1 including the responsibility1 into the hands of a competent director4 ,in this respect1 the despotism of the professional stage is most beneficial4 ,whether the coach be an outsider hired for the occasion1 or a regular member of the club1 in nine cases out of ten he will establish and maintain harmony1 allow no real talent to languish1 and be at least in a position to produce definite artistic results4 ,amateur management has spoiled much good material4 ,a director with full authority can work more easily and efficiently if left to his own devices than if trammeled with rules and regulations4 ,the theater1 behind the scenes1 is a despotic institution2 it must be1 but the greatest care must be taken in choosing the right despot4 ,should the coach be a professional manager or actor1 or should he be an amateur8 ,the question is a difficult one4 ,there are1 it goes without saying1 many excellent directors who are or have been professionals2 on the other hand1 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 has1 to say the least1 been limited4 ,some such training is beneficial1 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 professionaldom4 ,the best director1 therefore1 seems to be a person who has some professional experience1 but who has likewise dealt with amateurs2 one who enters into the amateur spirit1 and understands its difference from the professional world1 and does not try to train his company to imitate stock actors or stars4 ,understudies may be chosen in the same manner as the first cast4 ,after the choosing of the casts1 the next step is rehearsing4 ,to this complicated process the next three chapters are devoted4 ,illustration3 ,,captain ,,brassbound',s ,,conversion1 ,,by ,,shaw4 ,,set ,,of ,,act ,i1 ,,as ,,produced ,,by ,,the ,,neighborhood ,,playhouse1 ,,new ,,york4 7,photo by ,white4 ,courtesy of ,neighborhood ,playhouse74 ,,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 work4 ,if the play is to be performed in a regular theater1 it is wise to block out the general action and have at least the first two or three rehearsals on the stage4 ,it would be still better if all the rehearsals could be conducted there1 but as this is seldom possible1 the stage manager should take its dimensions and secure some room as near the size of the stage as he can find4 ,a room too large or too small1 or not the requisite shape1 is more than likely to confuse the actors4 ,as many of the essential props and articles of furniture as possible should be used from the very first1 in order to accustom the actors to work under approximately the same conditions as on the occasion of the performance4 ,if the play can be secured in printed form1 each actor will have his copy1 and a general reading to the cast by the director or stage manager be rendered unnecessary4 ,however1 a few remarks by him as to the nature and spirit of the play will not be amiss4 ,it is not uncommon to hear of professionals who have never read or seen the entire play even after acting in it for many months4 ,unless each actor knows and feels what the play is about and enters into its spirit1 there can be little chance for unity and harmony4 ,cutting1 or other alteration1 is often necessary4 ,the director should read his alterations and allow each actor to make his text conform with the prompt-copy4 ,when the play is not obtainable in book form1 each role is then copied from the manuscript1 together with the cues and all the stage business4 ,in this case1 a general reading to the cast is imperative4 ,the preliminaries disposed of1 the play is read1 each actor taking his part4 ,this is merely to familiarize the actors with the play and show them briefly their relation to each other and the work as a whole4 ,at this first rehearsal1 there should be no attempt at acting2 that is reserved for the next meeting4 ,at the second rehearsal#a--which should take place the day after the first--the director blocks out the action4 ,if the play be a full-length one 7approximately two hours7 then one act of this general blocking out will be found to occupy all the time4 ,if the play is in a single act1 and provided it be not too long1 then the entire play may be blocked out4 #a ,the system here followed must of necessity be arbitrary1 but the principle is easy to grasp4 ,a great deal depends on the ability of the actors and the time they can afford4 ,what is blocking out8 ,let us take an easy example and block out the first few minutes' of ,wilde's ,the ,importance of ,being ,earnest4#b ,here follows the text of the first two and a half pages3 #b ,editions published by ,french1 ,putnam1 ,luce1 ,nichols1 and ,baker4 ,scene--,morning-room in ,algernon's flat in ,half ,moon ,street4 ,the room is luxuriously and artistically furnished4 ,the sound of a piano is heard in the adjoining room4 ,,lane is arranging afternoon tea on the table1 and after the music has ceased1 ,,algernon enters4 ,,algernon4 ,did you hear what ,i was playing1 ,lane8 ,,lane4 ,i didn't think it polite to listen1 sir4 ,,algernon4 ,i'm sorry for that1 for your sake4 ,i don't play accurately--any one can play accurately--but ,i play with wonderful expression4 ,as far as the piano is concerned1 sentiment is my forte4 ,i keep science for ,life4 ,,lane4 ,yes1 sir4 ,,algernon4 ,and1 speaking of the science of ,life1 have you got the cucumber sandwiches cut for ,lady ,bracknell8 ,,lane4 ,yes1 sir4 ,he hands them on a salver4 ,,algernon4 ,inspects them1 takes two1 and sits down on the sofa4 ,oh6 444 by the way1 ,lane1 ,i see from your book that on ,thursday night1 when ,lord ,shoreman and ,mr4 ,worthing were dining with me1 eight bottles of champagne are entered as having been consumed4 ,,lane4 ,yes1 sir1 eight bottles and a pint4 ,,algernon4 ,why is it that at a bachelor's establishment the servants invariably drink the champagne8 ,i ask merely for information4 ,,lane4 ,i attribute it to the superior quality of the wine1 sir4 ,i have often observed that in married households the champagne is rarely of a first-rate brand4 ,,algernon4 ,good ,heavens6 ,is marriage so demoralizing as that8 ,,lane4 ,i believe it is a very pleasant state1 sir4 ,i have had very little experience of it myself up to the present4 ,i have only been married once4 ,that was in consequence of a misunderstanding between myself and a young person4 ,,algernon4 ,languidly4 ,i don't know that ,i am much interested in your family life1 ,lane4 ,,lane4 ,no1 sir2 it is not a very interesting subject4 ,i never think of it myself4 ,,algernon4 ,very natural1 ,i am sure4 ,that will do1 ,lane1 thank you4 ,,lane4 ,thank you1 sir4 ,,lane goes out4 ,,algernon4 ,lane's views on marriage seem somewhat lax4 ,really1 if the lower orders don't set us a good example1 what on earth is the use of them8 ,they seem1 as a class1 to have absolutely no sense of moral responsibility4 ,enter ,,lane4 ,,lane4 ,mr4 ,ernest ,worthing4 ,enter ,,jack4 ,,lane goes out4 ,,algernon4 ,how are you1 my dear ,ernest8 ,what brings you up to town8 ,,jack4 ,oh1 pleasure1 pleasure6 ,what else should bring me anywhere8 ,eating as usual1 ,i see1 ,algy8 ,,algernon4 ,stiffly4 ,i believe it is customary in good society to take some slight refreshment at five o'clock4 ,where have you been since last ,thursday8 ,,jack4 ,sitting down on the sofa4 ,in the country4 ,,algernon4 ,what on earth do you do there8 ,,jack4 ,pulling off his gloves4 ,when one is in town one amuses oneself4 ,when one is in the country one amuses other people4 ,it is excessively boring4 ,,algernon4 ,and who are the people you amuse8 ,,jack4 ,airily4 ,oh1 neighbors1 neighbors4 ,,algernon4 ,got nice neighbors in your part of ,shropshire8 ,,jack4 ,perfectly horrid6 ,never speak to one of them4 ,,algernon4 ,how immensely you must amuse them6 7,goes over and takes sandwich47 ,by the way1 ,shropshire is your county1 is it not8 ,,jack4 ,eh8 ,shropshire8 ,yes1 of course4 ,hallo6 ,why all these cups8 ,why such extravagance in one so young8 ,who is coming to tea8 ,the first point to be noticed is that the stage directions are not sufficient4 ,to begin with1 the only information we have as to the morning-room is that it is in ,algernon ,moncrieff's flat in ,half ,moon ,street1 and that it is luxuriously and artistically furnished4 ,the next directions--,,lane is arranging tea on a table--prove that there is a tea-table with tea things on it4 ,we are therefore dependent on the ensuing dialogue and the implied or briefly described action to furnish clues as to the entrances1 furniture1 and props which will be required in the course of the act4 ,it is1 of course1 the director's and the stage manager's business to go through the play beforehand1 and have all these points well in mind4 ,let us now see how this is done1 and proceed to block out the first part of the play4 ,the room evidently at least has two doors3 one leading into the hallway--up-stage ,center--the other halfway down-stage ,right1#c let us say for the present1 as in the diagram3 ,illustration #c ,right and ,left in stage directions mean from the actors' point of view4 ,up-stage and down-stage mean respectively away from and toward the footlights4 ,before ,algernon's entrance1 ,lane1 the butler1 is preparing tea4 ,where is the table8 ,some subsequent business may necessitate its being in a position different from the one first chosen1 but let us assume that it is up-stage to the right3 ,illustration ,there it is not likely to be in the way of the actors2 furthermore1 it is not on the same side of the stage as the sofa--which is the next article of furniture to be placed4 ,if the table and the sofa and the door were all on the same side of the stage1 it would be much too crowded1 especially as the larger part of the subsequent action revolves about them4 ,lane1 then1 is busied with the tea things for a moment1 as and after the curtain rises4 ,then the music of a piano is heard off-stage to the right4 ,it stops1 and a moment later ,algernon enters4 ,as he evidently has nothing in particular to do at that moment1 he may stand at the center of the stage1 facing ,lane1 who stops his work and respectfully answers his master's questions4 ,when ,algernon says3 ,and1 speaking of the science of ,life1 have you got the cucumber sandwiches cut for ,lady ,bracknell81 what more natural than that he should look in the direction of the table1 and perhaps even make a step toward it8 ,lane then goes to the table1 takes up the salver with the sandwiches on it1 and hands it to ,algernon4 ,here there are no other directions than ,hands them on salver4 ,the other business is inferred from the dialogue4 ,algernon then ,inspects them1 takes two1 and sits down on the sofa4 ,this is the first reference to the sofa4 ,the original prompt-copy must1 of course1 have made clear exactly where each article of furniture stood1 but1 for the reasons above enumerated1 let us place the sofa as in the diagram3 ,illustration ,notice now that nothing is said of the salver4 ,but from the direction near the top of page #c--7,luce and ,baker editions7 ,goes over and takes sandwich--we may assume that ,lane takes the salver back to the table4 ,undoubtedly1 he does this as ,algernon sits on the sofa4 ,this stage direction should be indicated in the prompt-copy1 as well as in that of the actor playing ,lane1 as follows3 ,illustration ,as soon as ,lane has done this1 or even before1 ,algernon resumes his conversation1 while ,lane turns and listens to him4 ,lane stands somewhere between the table and the sofa1 at a respectful distance from ,algernon4 ,the next business occurs when ,algernon says ,that will do1 ,lane1 thank you1 and ,lane replies ,thank you1 sir1 and goes out4 ,this brings up another question which is not answered1 as yet at least1 in the text4 ,does ,lane go out ,right8 ,possibly2 or is there another entrance ,left1 leading to the butler's room8 ,so far as we are able to determine1 there is no good reason why the room to the right1 where ,algernon was playing1 should not lead to the butler's room1 or to wherever he is supposed to go4 ,and in this case1 there is no reason why ,lane cannot1 during ,algernon's soliloquy1 have heard the doorbell ring1 answered it1 and been ready to reenter1 announcing1 as he does3 ,mr4 ,ernest ,worthing4 ,jack then enters1 ,right4 ,although again there is no stage direction1 it is likely that ,algernon rises to greet his friend and shake hands with him4 ,once more1 the stage directions1 or rather the want of them1 are apt to confuse4 ,on the top of page #c1 we read that ,jack pulls off his gloves4 ,he wears a hat1 of course1 and probably a coat4 ,he carries his hat in his hand1 but presumably still wears his coat1 and certainly his gloves4 ,lane1 before he leaves1 would undoubtedly take ,jack's hat1 help him off with his coat1 and take them out with him4 ,then1 before the two men shake hands--if they do--,jack pulls off his gloves4 ,jack's line1 ,eating as usual1 ,i see1 ,algy1 is sufficient indication to prove that in one hand ,algernon holds a sandwich4 ,algernon then sits down4 ,the dramatist would surely have mentioned ,jack's sitting down if that had been his intention2 therefore ,jack may stand4 ,now comes the direction about ,jack's ,pulling off his gloves4 ,what does he do with them8 ,for the present1 at least1 let us allow him to go to the tea table1 and lay them on it4 ,a moment later1 ,algernon ,goes over and takes sandwich4 ,he stands by the table1 eating1 and this attracts ,jack's attention to the somewhat elaborate preparations for tea4 ,algernon then says3 ,by the way1 ,shropshire is your county1 is it not8 ,but ,jack1 too engrossed in the preparations1 scarcely hears the other1 and answers3 ,eh8 ,shropshire8 ,yes1 of course1 and so on4 ,then he evidently goes to the tea table4 ,this is the general method of attack to be pursued4 ,it may be that later in the same scene it will be necessary to go back and undo some of the business1 because the only available text of this play--and this is almost always true of printed plays--is not in prompt-copy form4 ,the making1 therefore1 of a prompt-copy is a slow process4 ,first1 the director goes through the play and plans in a general way what the action is to be1 but only by rehearsing his cast on a particular stage and under specific conditions1 is he able to know every detail of the action4 ,by the time the actors are letter-perfect1 the prompt-copy ought likewise to be fairly perfect4 ,it is always dangerous to change business after the actors have memorized their parts4 ,during this preliminary blocking-out process1 little or no attention need be paid to details3 the mere outlining of the action1 together with the reading of the lines by the actors1 is sufficient4 ,sometimes printed plays suffer from too many stage directions1 and occasionally even the careful ,bernard ,shaw1 as the following extract will prove1 is far from clear4 ,here are the opening pages of ,you ,never ,can ,tell3#d #d ,published separately by ,brentano's4 ,in a dentist's operating room on a fine ,august morning in #ahif4 ,not the usual tiny ,london den1 but the best sitting-room of a furnished lodging in a terrace on the sea front at a fashionable watering place4 ,the operating chair1 with a gas pump and cylinder beside it1 is half way between the center of the room and one of the corners4 ,if you look into the room through the window which lights it1 you will see the fireplace in the middle of the wall opposite you1 with the door beside it to your left2 an ,m4,r4,c4,s4 diploma in a frame hung on the chimneypiece2 an easy chair covered in black leather on the hearth2 a neat stool and bench1 with vice1 tools1 and a mortar and pestle in the corner to the right4 ,near this bench stands a slender machine like a whip provided with a stand1 a pedal1 and an exaggerated winch4 ,recognizing this as a dental drill1 you shudder and look away to your left1 where you can see another window1 underneath which stands a writing table1 with a blotter and a diary on it1 and a chair4 ,next the writing table1 towards the door1 is a leather covered sofa4 ,the opposite wall1 close on your right1 is occupied mostly by a bookcase4 ,the operating chair is under your nose1 facing you1 with the cabinet of instruments handy to it on your left4 ,you observe that the professional furniture and apparatus are new1 and that the wall paper1 designed1 with the taste of an undertaker1 in festoons and urns1 the carpet with its symmetrical plans of rich1 cabbagy nosegays1 the glass gasalier with lustres1 the ornamental1 gilt-rimmed blue candlesticks on the ends of the mantelshelf1 also glass-draped with lustres1 and the ormolu clock under a glass cover in the middle between them1 its uselessness emphasized by a cheap ,american clock disrespectfully placed beside it and now indicating #ab o'clock noon1 all combine with the black marble which gives the fireplace the air of a miniature family vault1 to suggest early ,victorian commercial respectability1 belief in money1 ,bible fetichism1 fear of hell always at war with fear of poverty1 instinctive horror of the passionate character of art1 love and the ,roman ,catholic religion1 and all the first fruits of plutocracy in the early generations of the industrial revolution4 ,there is no shadow of this on the two persons who are occupying the room just now4 ,one of them1 a very pretty woman in miniature1 her tiny figure dressed with the daintiest gaiety1 is of a later generation1 being hardly eighteen yet4 ,this darling little creature clearly does not belong to the room1 or even to the country2 for her complexion1 though very delicate1 has been burnt biscuit color by some warmer sun than ,england's2 and yet there is1 for a very subtle observer1 a link between them4 ,for she has a glass of water in her hand1 and a rapidly clearing cloud of spartan obstinacy on her tiny firm mouth and quaintly squared eyebrows4 ,if the least line of conscience could be traced between those eyebrows1 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's4 ,the dentist1 contemplating her with the self-satisfaction of a successful operator1 is a young man of thirty or thereabouts4 ,he does not give the impression of being much of a workman3 his professional manner evidently strikes him as being a joke2 and it is underlain by a thoughtless pleasantry which betrays the young gentleman still unsettled and in search of amusing adventures1 behind the newly set-up dentist in search of patients4 ,he is not without gravity of demeanor2 but the strained nostrils stamp it as the gravity of the humorist4 ,his eyes are clear1 alert1 of sceptically moderate size1 and yet a little rash2 his forehead is an excellent one1 with plenty of room behind it2 his nose and chin cavalierly handsome4 ,on the whole1 an attractive1 noticeable beginner1 of whose prospects a man of business might form a tolerably favorable estimate4 ,,the ,,young ,,lady 7handing him the glass74 ,thank you4 7,in spite of the biscuit complexion she has not the slightest foreign accent47 ,,the ,,dentist 7putting it down on the ledge of his cabinet of instruments74 ,that was my first tooth4 ,,the ,,young ,,lady 7aghast74 ,your first6 ,do you mean to say that you began practising on me8 ,,the ,,dentist4 ,every dentist has to begin on somebody4 ,,the ,,young ,,lady4 ,yes3 somebody in a hospital1 not people who pay4 ,,the ,,dentist 7laughing74 ,oh1 the hospital doesn't count4 ,i only meant my first tooth in private practice4 ,why didn't you let me give you gas8 ,,the ,,young ,,lady4 ,because you said it would be five shillings extra4 ,,the ,,dentist 7shocked74 ,oh1 don't say that4 ,it makes me feel as if ,i had hurt you for the sake of five shillings4 ,,the ,,young ,,lady 7with cool insolence74 ,well1 so you have6 7,she gets up47 ,why shouldn't you8 it's your business to hurt people4 7,it amuses him to be treated in this fashion2 he chuckles secretly as he proceeds to clean and replace his instruments4 ,she shakes her dress into order1 looks inquisitively about her2 and goes to the window47 ,you have a good view of the sea from these rooms6 ,are they expensive8 ,,the ,,dentist4 ,yes4 ,,the ,,young ,,lady4 ,you don't own the whole house1 do you8 ,,the ,,dentist4 ,no4 ,,the ,,young ,,lady 7taking the chair which stands at the writing table and looking critically at it as she spins it round on one leg74 ,your furniture isn't quite the latest thing1 is it8 ,,the ,,dentist4 ,it's my landlord's4 ,,the ,,young ,,lady4 ,does he own that nice comfortable ,bath chair8 7pointing to the operating chair74 ,,the ,,dentist4 ,no3 ,i have that on the hire-purchase system4 ,,the ,,young ,,lady 7disparagingly74 ,i thought so4 7,looking about her again in search of further conclusion47 ,i suppose you haven't been here long8 ,,the ,,dentist4 ,six weeks4 ,is there anything else you would like to know8 ,,the ,,young ,,lady 7the hint quite lost on her74 ,any family8 ,shaw's stage directions here are more than sufficient3 they are intended not only for the director1 stage manager1 property man1 scene painter1 and actor1 but for the reader as well4 ,his directions are always stimulating and suggestive1 and should be studied by the actors2 but1 from the point of view of the director and stage manager1 they are bewilderingly diffuse and sometimes confusing4 ,the fact1 for instance1 that the action takes place precisely in #ahif1 can be of little interest to the manager4 ,nor can a clock indicate twelve o'clock noon4 ,in such stage directions as these the director will therefore have to separate the purely mechanical elements from the literary and atmospheric4 ,let us now apply ourselves to the rather difficult task of making a diagram of the stage and its settings4 ,it is a fine ,august morning4 ,the sun is shining out-of-doors and1 as the room looks out over the sea1 the stage must be lighted through one of the windows4 ,the dramatist goes on to say that the room is ,not the usual tiny ,london den1 but the best sitting room of a furnished lodging4 ,by inference1 it is a large room4 ,the operating chair is half way between the center of the room and one of the corners4 ,which corner is not designated4 ,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 7the actor's left1 of course74 ,the window which lights the room is placed thus3 ,illustration ,looking through this window1 you will see the fireplace in the middle of the wall opposite you1 with the door beside it to your left3 ,illustration ,the next article of furniture mentioned is the easy chair on the hearth3 ,illustration ,then come a neat stool and bench and1 near them1 a dental drill3 ,illustration ,near it is not definite1 but for the time being1 let us allow it to stand up-stage near the stool and bench1 but a little toward ,center4 ,next1 you look away to your left1 where you can see another window4 ,the direction here is not practicable1 but the window may well go above the fireplace1 instead of below1 thus3 ,illustration ,underneath this window stands a writing table and a chair3 ,illustration ,next the writing table1 towards the door1 is a leather covered sofa4 ,to add another article of furniture to this already crowded side of the stage would not only make the room appear unnatural to the audience1 but would render it impossible for the actors to move about with ease4 ,the director will therefore have to use his ingenuity and judgment as to where to put the sofa4 ,some subsequent business may necessitate a change of the disposition of more than one chair or sofa or stool1 but the process here outlined is the first step4 ,to proceed3 the sofa1 then1 must be placed somewhere else4 ,but where8 ,by moving the drill to the left1 in the corner1 the sofa can be placed next to the table1 as follows3 ,illustration ,the opposite wall1 close on your right1 is occupied mostly by a bookcase4 ,the operating chair is under your nose1 facing you1 with the cabinet of instruments handy to it on your left4 ,illustration ,it is at once observed how necessary it was to move the drill from the other side of the room to this3 over by the table1 it would be out of convenient reach of the dentist4 ,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 lines1 in order to make an accurate series of stage diagrams1 property1 light1 and furniture plots4 ,notice that in the preliminary stage directions the center entrance is not designated4 ,it soon becomes evident1 however1 that a center door 7or one1 at least1 at the back of the stage7 is taken for granted4 ,this elementary diagram will serve as a working basis4 ,a very little rehearsing will soon make it necessary to arrange the furniture1 and so on1 in a manner more pleasing to the eye and more convenient to the actor4 ,illustration ,there is one more kind of text with which amateurs have to do3 it is the reprint of actual prompt-copies1 and is usually accurate in material details4 ,the following extract is from the opening pages of the fourth act of ,henry ,arthur ,jones's ,the ,liars 7in the special edition published by ,samuel ,french73 ,scene3 ,drawing-room in ,sir ,christopher's flat in ,victoria ,street4 ,l4 at back is a large recess1 taking up half the stage4 ,the right half is taken up by an inner room furnished as library and smoking-room4 ,curtains dividing library from drawing-room4 ,door up-stage1 ,l4 ,a table down-stage1 ,r4 ,the room is in great confusion1 with portmanteau open1 clothes1 etc41 scattered over the floor2 articles which an officer going to ,central ,africa might want are lying about4 ,the diagram1 as given in the text1 is this3 ,illustration ,this is merely a skeleton1 as it were1 of a diagram1 but first1 the preliminary stage directions--quoted above--and the detailed and full marginal and other stage directions in the text1 make clear every crossing1 entrance1 and exit1 and designate at least the important articles of furniture and props4 ,for example1 it is learned from the text on the first and second pages of the act1 that there is a uniform case up-,center--up-stage1 that is1 in the center of it2 a folding stool by the table2 a trunk to the left of ,center2 and a sofa on the extreme left4 ,unlike the quotations from the ,wilde and ,shaw plays1 those of ,jones supply all necessary information to the stage manager and the actors4 ,of course1 as always1 modifications must be made to meet the exigencies of certain stages and certain actors1 but these are minor matters4 ,the fundamental principles of this preliminary blocking-out having been laid down1 we shall now proceed to a consideration of the infinitely varied problems of grouping and detailed stage business4 ,illustration3 ,,set ,,for ,,musset',s ,,whims1 ,,produced ,,by ,,the ,,washington ,,square ,,players4 7,courtesy of ,the ,washington ,square ,players74 ,,chapter ,v ,,rehearsing ,,ii ,while it is true that the possibilities of variation in the matter of grouping1 crossing1 and so on1 are infinite1 still there are some definite principles to be followed4 ,suppose that the blocking-out process is over with1 and the actors have a fair idea of their entrances1 positions1 business1 and exits4 ,the two following extracts 7the first from the third act of ,jones's ,the ,liars1 the second from ,edouard ,pailleron's ,the ,art of ,being ,bored7 serve to illustrate two ways of going about the problem of grouping actors on the stage4 ,the first contains specific directions1 the second only the merest suggestions4 ,below is the diagram of the stage in the third act of ,the ,liars3 ,illustration ,up to page #ajg1 which is reproduced on page #ej1 the characters are grouped as indicated3 ,illustration ,following carefully the stage directions in the text and on the margin1 the action is traced as follows3 ,mrs4 ,crespin shakes hands with ,sir ,christopher4 ,then 7marginal note7 ,sir ,c4 opens door ,l4 for ,mrs4 ,crespin3 ,illustration 7,exit ,,mrs4 ,,crespin4#e ,they all stand looking at each other1 nonplussed4 ,,sir ,,christopher slightly touching his head with perplexed gesture47 #e ,sir ,c4 opens door ,l4 for ,mrs4 ,crespin2 after her exit1 closes door4 ,they all turn and look at ,sir ,c4 ,he sinks into a chair up ,c41 and shakes his head at them4 ,,sir ,c4 ,our fib won't do4 ,,lady ,r4 ,freddie1 you incomparable nincompoop6 ,,freddie4 ,i like that6 ,if ,i hadn't asked her1 what would have happened8 ,george ,nepean would have come in1 you'd have plumped down on him with your lie1 and what then8 ,don't you think it's jolly lucky ,i said what ,i did8#f #f ,lady ,jess4 sits ,l4,c4 ,sir ,chris4 puts hat on bookcase ,c41 and comes down ,c4 ,,sir ,c4 ,it's lucky in this instance4 ,but if ,i am to embark any further in these imaginative enterprises1 ,i must ask you1 ,freddie1 to keep a silent tongue4 ,,freddie4 ,what for8 ,,sir ,c4 ,well1 old fellow1 it may be an unpalatable truth to you1 but you'll never make a good liar4#g #g ,lady ,r4 and ,lady ,jess4 agree with ,sir ,c4 ,,freddie4 ,very likely not4 ,but if this sort of thing is going on in my house1 ,i think ,i ought to4 ,,lady ,r4#h #h ,crosses to him ,c4 ,freddie sits ,r4,c4 annoyed4 ,oh1 do subside1 ,freddie1 do subside6 ,,lady ,j4#i #i #eth call4 ,george4 ,yes1 ,george--and perhaps ,gilbert--will be here directly4 ,oh1 will somebody tell me what to do8 ,then1 after her exit1 closes door4 ,they all turn and look at ,sir ,c4 ,he sinks into a chair and shakes his head at them4 ,into which chair does he sink8 ,since in a moment he must put his hat on the bookcase1 ,center1 he had better sit on the chair to the right of it3 ,illustration ,then1 at the end of ,freddie's speech1 ,lady ,jess4 sits ,l4,c4 left of ,center4 ,sir ,chris4 puts hat on bookcase ,c41 and comes down ,c4 ,illustration ,the last speech of ,lady ,rosamund on this page is accompanied by the following stage direction3 ,crosses to him ,sir ,christopher ,c4 ,freddie sits ,r4,c4 annoyed4 ,illustration ,this is very simple1 but only in the rarest instances are stage directions so carefully worked out and indicated4 ,the director will usually be confronted by long pages where there are few or no definite or dependable directions4 ,the original text of ,shakespeare affords us only the most elementary explanations of stage business1 so that when ,shakespeare is produced it is wisest to use one of the many stage editions1 in which the traditional directions1 or others equally good1 are given at some length4 ,usually1 however1 the director will be aided by directions which are fairly full and fairly accurate1 but never quite dependable4 ,the following excerpt--from ,the ,art of ,being ,bored--contains the ordinary sort of directions1 the kind that are found in good plays and bad4 ,the set is described in the first act as being3 ,a drawing-room1 with a large entrance at the back1 opening upon another room4 ,entrances up- and down-stage4 ,to the left1 between the two doors1 a piano4 ,right1 an entrance down-stage2 farther up1 a large alcove with a glazed door leading into the garden2 a table1 on either side of which is a chair2 to the right1 a small table and a sofa2 arm-chairs1 etc4 ,this may be plotted in the following manner3 ,illustration ,there are no specific directions as to the position of the sofa and chairs1 but as a large number of characters are on the stage at one time1 a great many will be necessary4 ,the exact number of chairs1 as well as the positions they will have to occupy1 depend largely on the size and shape of the stage4 ,the above diagram will serve at first as a working basis4 ,turning to the opening of the second act1 we find the following directions3 7,same as ,act #a4 7,bellac1 ,toulonnier1 ,roger1 ,paul ,raymond1 ,madame de ,ceran1 ,madame de ,loudan1 ,madame ,arriego1 the ,duchess1 ,suzanne1 ,lucy1 ,jeanne seated in a semi-circle1 listening to ,saint-,reault1 who is finishing his lecture74 ,illustration ,,saint-,,reault4 ,and1 make no mistake about it6 ,profound as these legends may appear because of their baffling exoticism1 they are merely--my illustrious father wrote in #ahcd--;elemental1 primitive imaginings in comparison with the transcendental conceptions of ,brahmin lore1 gathered together in the ,upanishads1 or indeed in the eighteen ,paranas of ,vyasa1 the compiler of the ,vedda4 ,,jeanne 7aside to ,paul74 ,are you asleep8 ,,paul4 ,no1 no--,i hear some kind of gibberish4 ,,saint-,,reault4 ,such1 in simple terminology1 is the concretum of the doctrine of ,buddha4--,and at this point ,i shall close my remarks4 7,murmurs4 ,some of the audience rise74 ,here two or three--,bellac and ,roger1 and one of the ladies1 let us say--rise1 and chat in undertones in a small group among themselves4 ,,several ,,voices 7weakly74 ,very good6 ,good6 ,,saint-,,reault4 ,and now--7,he coughs74 ,,madame ,,de ,,ceran 7eagerly74 ,you must be tired1 ,saint-,reault8 ,at this1 ,madame de ,ceran might well rise1 as if to put an end to ,saint-,reault's speech4 ,the others are impatient1 and perhaps one or two start to rise4 ,the others whisper1 or appear to do so4 ,then ,saint-,reault continues3 ,,saint-,,reault4 ,not at all1 ,countess6 ,,madame ,,arriego4 ,oh1 yes1 you must be2 rest yourself4 ,we can wait4 ,it is likely that here ,madame ,arriego would rise and go to ,saint-,reault4 ,two or three others would follow her4 ,,several ,,voices4 ,you must rest6 ,,madame ,,de ,,loudan4 ,you can't always remain in the clouds4 ,come down to earth1 ,baron4 ,,saint-,,reault4 ,thank you1 but--well1 you see1 ,i had already finished4 7,everybody rises74 ,saint-,reault's audience may then form into small groups1 somewhat as follows3 ,illustration ,care must be taken not to give the stage a crowded appearance1 nor yet an air of too well-ordered symmetry4 ,to continue3 ,,several ,,voices4 ,so interesting6--,a little obscure6--,excellent6--,too long6 ,,bellac 7to the ladies74 ,too materialistic6 ,,paul 7to ,jeanne74 ,he's bungled it4 ,,susanne 7calling74 ,monsieur ,bellac6 ,,bellac4 ,mademoiselle8 ,,susanne4 ,come here1 near me4 7,bellac goes to her74 ,,roger 7aside to the ,duchess74 ,aunt6 ,the direction aside to the ,duchess shows that 7#a7 ,roger1 after the company rose1 either went to the ,duchess2 or that1 7#b7 meantime he goes to her4 ,this may be done either way1 so long as the two are within reasonable whispering distance4 ,,duchess 7aside to ,roger74 ,she's doing it on purpose6 ,,saint-,,reault 7coming to table74 ,one word more6 7,general surprise4 ,the audience sit down in silence and consternation74 ,bearing in mind the change of position of ,bellac1 ,roger1 and ,saint-,reault1 we may reseat the characters as follows3 ,illustration ,while1 as has been said1 grouping depends to a great extent on the size and shape of the stage1 it should always be borne in mind that the stage should in most cases be made to resemble a picture as regards balance and composition4 ,this means that the director must avoid crowding2 that the actors must learn to take their places as part of that picture1 and not attempt either to usurp the center of the stage or to disappear behind other actors4 ,no grouping should ever be left to chance or the inspiration of the moment2 every actor must have marked down in his own script every movement he makes4 ,groups and crowds require a great deal of rehearsing1 in order that they may always assume the right position at the right moment4 ,when an impression of vast numbers of people is desired--as in ,julius ,caesar--large numbers of supes are not needed4 ,eight or ten or twelve people1 well managed1 are sufficient to create an effect of this sort on a small stage1 and perhaps twenty on a large4 ,the basic principle of the art of the theater is suggestion1 not reproduction4 ,in the forum scene of ,shakespeare's ,julius ,caesar there are practically no stage directions4 ,the management of the mob1 therefore1 is left entirely to the director4 ,when the ,third ,citizen says3 ,the noble ,brutus is ascended4 ,silence6 we are of course given to understand--by the word ,silence6--that there has been some noise and confusion4 ,the text affords the most important indications4 ,plot out1 for practice1 the position of the various members of the mob throughout this scene4 ,as a rule1 the best impression of a crowd is made by massing and manipulating groups of from three to six individuals4 ,if movement is demanded1 it must be precise and measured out carefully during rehearsals4 ,therefore1 since it is nearly always impossible to get trained actors to compose mobs1 it is well to intersperse two or three leaders in any crowd1 who will give the cue for concerted action4 ,the foregoing discussion1 both in the present and preceding chapter1 has been made largely from the director's and the stage manager's viewpoint4 ,let us now go back to the actor1 and suggest a few methods which will help him4 ,an easy and vivid way of remembering business at first is to make a very simple diagram1 thus3 ,illustration ,supposing ,a1 who stands down-stage before the sofa1 crosses up-stage to the small table1 as he says3 ,i'll not stand it any longer6 ,just after this line1 the actor places a mark referring him to the margin of his script1 and makes another diagram3 ,illustration ,this represents ,a crossing to up-stage1 left of the small table4 ,in this way1 when the actor is studying his lines1 he cannot help studying the business1 and vice versa2 and since lines and business almost always go hand in hand1 he will run no danger of having first learned the one without the other4 ,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 learned4 ,in the first chapter on ,rehearsing1 the blocking-out process was discussed1 but the order in which each act was to be rehearsed1 the time to be spent on it1 etc4--these matters were deferred1 and will now be taken up4 ,at the next rehearsal--that is1 after the blocking-out of the first act--the second is treated in the same way4 ,and after the last act has been blocked out1 the first should be rehearsed with greater care4 ,details of business1 grouping1 the delivery of lines--especially the correction of errors in interpretation--must be carefully considered4 ,probably some of the business blocked out in the first rehearsal will have to be changed1 or at least amplified4 ,entrances and exits must be repeatedly rehearsed until they go smoothly4 ,the crossings and recrossing of one1 two1 or more characters1 can scarcely be rehearsed too often4 ,let us take a few examples of this sort of detail work4 ,a man comes home late1 tired and hungry4 ,outside the sitting room through an open door1 is seen the hatrack4 ,how can this simple incident be made to appear true and interesting8 ,here is at least one manner of accomplishing it3 a door is heard closing off-stage2 footsteps resound in the hall4 ,a1 the man1 appears1 wearing a hat1 overcoat1 and gloves1 at the ,center door1 looks into the room to see whether any one is present1 seems surprised1 utters a short exclamation1 and then turns to the hatrack4 ,his back to the audience1 he takes off his hat1 hangs it carelessly on a hook1 then slowly draws off his gloves1 allows his coat to fall from his shoulders1 looks at himself in the glass for an instant1 and then1 with a sigh1 comes into the room again4 ,the incident1 of course1 is capable of a hundred variations1 depending upon the character of the man1 the circumstances under which he comes home1 and so forth4 ,or1 a little more complicated instance3 ,a1 ,b1 and ,c1 three men1 are seated1 talking after dinner4 ,they are stationed as follows3 ,illustration ,a sits on the arm of the davenport1 ,b on the davenport itself1 and ,c in a chair at the lower right-hand side of the table4 ,notice first that the davenport is not placed at right angles to the audience2 this is done so that two people1 sitting side by side1 may be better seen by the house4 ,notice1 too1 that ,a is at the extreme left-hand corner of the davenport4 ,visualize this for an instant3 here is proportion1 line1 and balance1 but without the appearance of stiffness or symmetry1 which should always be avoided4 ,b rises and stands before the fireplace3 again notice the grouping3 ,illustration ,a then rises and goes to the center of the stage1 standing near the left of the table3 ,illustration ,this simple moving about the room should never be obtrusive2 that is to say1 the audience must never be conscious of the director's hand4 ,first1 every bit of business1 every move1 every gesture1 must be justified1 otherwise it calls attention to itself4 ,this is a distinct problem with amateurs1 who naturally find it difficult not to move about when they have nothing else to do4 ,they feel self-conscious unless they are acting4 ,the best rule for any amateur--although it is again the director who is responsible and should look after this--is1 never to do anything unless he knows precisely why he does it1 and unless he feels it4 ,one further example3 imagine a five-minute conversation1 in the text of which there are no stage directions4 ,it is between two women3 ,d and ,e4 ,they are seated1 one in an arm-chair by the fire1 the other in an ordinary chair to the right of a library table3 ,illustration ,there are not many plays in which two characters merely converse for so long a period without well-motivated reasons1 but it is well to take an extreme example4 ,let us assume that ,d is telling ,e the story of her life1 and that for two minutes her speech contains little more than straight narrative4 ,suddenly she tells a sad incident1 and ,e1 who has a sympathetic nature1 wipes her eyes with her handkerchief4 ,d continues1 and ,e1 no longer able to restrain her tears but not wishing to show her emotion to ,d1 rises and goes to the left of the stage for a moment or two4 ,the long conversation scene is now broken up by a natural bit of action4 ,while in life such a conversation might consume hours1 on the stage it must be made more attractive and emotionally stimulating2 in the theater1 the appeal is through the eye and ear1 to the emotions4 ,such a scene as the one just outlined must be repeatedly rehearsed1 until every detail of the business is worked out perfectly4 ,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 performance4 ,then the other acts are rehearsed in like manner4 ,each act1 after it is finished in this way1 must be rehearsed at least every three or four days4 ,when all the acts have been worked out1 then each rehearsal is devoted to going through the whole play4 ,minor points in acting1 minor business1 rendering of the lines1 voice1 gesture1 etc41 must naturally be insisted upon4 ,special cases must be dealt with outside the regular rehearsals1 for the play should be interrupted as seldom as possible1 because it is wise to let the actors become accustomed to going through the entire piece4 ,it will be found expeditious1 too1 for small groups of characters who have scenes together to rehearse by themselves4 ,the full rehearsals of the play are valuable both to actors and the director1 for the latter is given a general view of his stage pictures which could in no other way be afforded him1 and he is in a position to judge of his general and massed effects4 ,at the same time the actors will more readily enter into the spirit of the work if they are permitted to play without interruption4 ,where the actors forget their lines1 they should be prompted without other delay1 but if they do anything actually wrong1 or if the director wishes to make an important change1 the performance must1 of course1 be stopped for a moment4 ,the number of rehearsals necessary for the production of a play by amateurs depends largely on the attitude of the amateurs themselves1 and the amount of time at their disposal4 ,it is safe to say that ninety-nine out of a hundred such performances suffer noticeably from need of rehearsing4 ,nor is this to be wondered at1 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 week6 ,of course1 an amateur is an amateur because he is not a professional1 and he cannot afford very much time for work which is after all only a pastime4 ,one other point should be well borne in mind3 the average amateur has not the patience of the professional4 ,if he is rehearsed too long or too steadily1 he will grow stale1 and lose interest in his work4 ,still1 no full-length play can safely be produced with less than four weeks' work1 on an average of five rehearsals of three hours each1 per week4 7,this does not include special and individual outside rehearsals47 ,four weeks is the shortest time that can be allowed1 while six or seven should be devoted to it4 ,so much time is not necessary in order that the company may attempt to become professionals2 that would be impossible and not at all advisable4 ,the amateur1 if rightly trained1 should be able to impart a certain natural1 naive1 unprofessional tone to the part he is impersonating1 but this can only be done by constant rehearsing4 ,the director usually finds that the amateur's first instinct is to imitate the tricks of the professional actor1 and not allow himself to feel the character of the role4 ,the professional quickly assimilates mannerisms which are only too likely to become mechanical1 but which the amateur1 because he is an amateur1 is not likely to learn1 if at first he is trained to avoid them4 ,there is no particular excuse for presenting plays which can be seen acted anywhere and any time by professionals2 amateurs should strive to produce classics1 or modern plays which for one reason or another are not often seen1 and impart to them that peculiar flavor which charms as well as interests and attracts4 ,nor is there much use in the amateur actor's striving to become professional in manner3 he cannot hope1 in the short time he can spare for his work1 to become a good professional2 or1 if he gives signs of becoming such1 then he no longer belongs in amateur dramatics4 ,allow the amateur plenty of leeway in the matter of interpretation1 if he has any original ideas of his own2 but of course these must never be at variance with the general idea of the play4 ,let him work out his own salvation3 here lies the value of amateur production1 both to the actor and to the audience4 ,often amateurs are called upon to portray feelings1 actions1 passions1 of which they have no knowledge or experience4 ,love scenes1 for instance1 are invariably difficult4 ,in this case1 the actors must be taught a few conventional gestures1 attitudes1 and tricks1 but they should not be permitted--except in rare cases--to lay much stress on the acting4 ,this also applies to such purely conventional matters as kissing1 dying1 fighting1 etc41 for which a set of recognized technical tricks has been evolved4 ,any competent director can train actors to do this4 ,one more point before this part of rehearsing is dispensed with3 amateur productions suffer largely from a lack of continuous tension and variety4 ,often the action is slow1 jerky1 and consequently tedious4 ,constant rehearsing1 with a view to inspiring greater confidence and sureness in the actors1 under a good director1 is the best means to overcome these great drawbacks4 ,the last eight or ten rehearsals1 after the cast are familiar with their lines and business1 are the most important in the matter of tempo4 ,details of shading1 well-developed and modulated action1 and a well-defined climax1 are what must be worked for4 ,when the actors are no longer thinking of when they must cross or sit down or rise1 they are ready to enter whole-heartedly into the spirit of the play as an artistic unit4 ,as an example1 on a small scale1 of how a scene may be modulated and shaded1 two pages from ,meilhac and ,halevy's ,indian ,summer 7published by ,samuel ,french7 are here reprinted with marginal notes explaining how these effects are obtained4 ,,adr4 ,just a moment ago ,i forgot that such a thing was out of the question-- ,slowly and ,,bri4 ,why out of the question--8 quietly4 ,,adr4 ,why1 because-- ,,bri4 ,because what8 ,how much did that ,american ,slight increase family pay you8 ,i'll give you twice as much--three of times as much4 ,whatever you want6 speed and tension4 ,,adr4 ,only to read to you8 ,,bri4 ,why1 yes4 ,,adr4 ,that wouldn't be so bad--there's just one thing against it--it might be just a wee bit compromising6 ,slowly ,,bri4 ,oh6 rising tension ,,adr4 ,really1 don't you think so8 ,just a bit8 and speed4 ,,bri4 ,at my age8 ,,adr4 7gaily74 ,oh1 it's all very well--a young person like me--alone with you4 7,seriously47 ,oh1 if you only didn't live alone--6 ,staccato4 ,,bri4 ,if ,i--8 ,if ,i weren't alone8 ,,adr4 ,if you only had some relatives--married relatives--your nephew1 for instance1 with his wife--then ,i might-- ,,bri4 ,once more1 don't speak to me of--6 ,he's the one that brought all this trouble on us--that letter that forces you to--that letter came from ,emphasis4 him4 7,,adrienne makes a quick movement of protest47 ',tisn't his fault1 ,i know1 but ,i hold a grudge against him as if it were-- ,momentary ,,adr4 ,and yet1 if ,i told you-- pause4 ,,bri4 7stopping her74 ,shh6 ,if you please4 7,pause47 ,,adr4 7moved74 ,then ,i must go4 ,that was the only ,diminuendo4 way2 and you don't want to do that4 ,i'm sure ,i ,tense1 don't know what will happen afterward4 ,i still but quiet4 hope--,but for the moment1 ,i must 7,mild access of crying74 ,oh ,i'm sorry--so sorry--7,falls into chair at side of table74 ,,bri4 7excitedly74 ,adrienne6 ,slight increase again4 ,,adr4 7recovering mastery over herself74 ,i beg your pardon--there6 ,there6 7,brushing away her tears74,see1 it's all over6 ,,bri4 ,adrienne6 ,,adr4 7rising74 ,monsieur6 ,,bri4 ,it's true1 then1 if there were some way1 you would--8 ,not the way ,i mentioned just now--but another--you wouldn't leave1 would you8 ,you'd ,quickly stay here--near me--always--and be happy8 increasing rise4 ,,adr4 7lightly74 ,oh yes1 it's too--,i say it from the bottom of my heart6 ,,bri4 ,very well1 you shan't go4 ,quickly4 ,,adr4 ,i--8 ,,bri4 ,no1 you shan't go4 ,,adr4 ,but--how8--,why8 ,,bri4 ,i have found a way6 ,moment of suspense4 ,,adr4 ,and it is8 ,,bri4 ,to make you my wife6 ,climax4 ,,adr4 7,sits down again1 overcome74 ,,bri4 ,i'll do it6--,go and speak to your ,aunt--,here6 ,come here6 7,enter ,,noel1 right1 carrying a bundle of papers74 ,come here6 ,don't be afraid6 ,you may go and get your wife4 ,bring her here6 ,i'll forgive her as ,i forgive you6 7,shakes hands warmly with ,,noel74 ,high tension ,,noel4 ,uncle6 after the ,,bri4 ,you were right--now ,i know it6 ,what do ,i climax1 care if she is a watchmaker's daughter8 ,go and get and preparatory your wife--bring her here--and we'll live together1 to another the four of us us-- climax later on4 ,,noel4 ,all four of us8 ,,bri4 ,yes1 all four6 7,to ,,adrienne74 ,i am going to speak to your ,aunt--,i'll be back at once4 7,exit ,center74 ,illustration3 ,,sister ,,beatrice ,,of ,,maeterlinck1 ,,produced ,,at ,,the ,,western ,,reserve ,,college ,,for ,,women4 ,the simple hangings produce a good cyclorama effect4 7,courtesy of ,miss ,ida ,treat74 ,,chapter ,,vi ,,rehearsing ,,iii ,the dress rehearsal usually takes place on the night before the regular performance4 ,every effort must be made on this occasion to have conditions1 on the stage and behind it1 as nearly as possible like those under which the play is to be given4 ,scenery1 lighting1 costumes1 must all be ready1 and the performance carried through with as few interruptions as the director can afford to make4 ,the director should be in the back of the house1 and stop the players only when they do something absolutely wrong4 ,it is very unwise to change lines or business at this eleventh hour4 ,the stage manager and his assistants must be in their assigned places1 the lights manipulated1 actors called1 the curtain rung up and down on schedule4 ,the director watches the general effects1 sees that the stage is not crowded1 that the lights are in order1 and above all1 watches the tempo of the performance4 ,the actors must be informed that on the occasion of the performance the audience is likely to distract them by applause1 laughter1 etc41 and that they1 the actors1 must pause for a moment when there is any such interruption4 ,a little advice as to resting1 not worrying about lines1 etc41 will not be out of place4 ,besides the acting dress rehearsal1 there should be a scene and light rehearsal4 ,this is merely for the assistants behind the stage4 ,the different scenes 7if there is more than one7 should be set and struck 7taken down71 furniture and props stationed1 lights worked1 exactly as they are to be on the following night4 ,everything should go according to clockwork1 the stage manager holding the book on all his assistants4 ,the performance should begin on time4 ,every one knows the irksome delay usually incident to amateur performances1 and it ought to be the object of every director to remedy a defect which is inherent in our usual slipshod method of reproducing plays4 ,promptness is the prime requisite of efficiency1 and the production of plays is successful only when the component elements are organized on a sort of military basis4 ,the actors must be in the theater on time1 and made-up in costume1 at least half an hour before the curtain rises4 ,it is well for each actor to see the property man and make sure that all the props necessary to his part are in readiness4 ,the property man himself must also check up his list for the last time1 in order to avoid confusion during the performance4 ,when everything is in order1 there is little more to be done4 ,the director might make a few general remarks to the cast1 endeavor to inspire them with confidence and impress upon them the necessity of playing together harmoniously1 and so on1 but if his work has been well done during rehearsals1 this will not be necessary4 ,the prompter must follow the play line for line and be ready to prompt any actor who forgets his part4 ,it is well for the stage manager to be near the prompter1 in order that every cue for lighting1 business off-stage--like ringing bells1 shooting1 etc4--may be acted upon as required4 ,illustration ,illustration3 ,,two ,,views ,,of ,,the ,,stage ,,at ,,tufts ,,college1 ,,showing ,,plenty ,,of ,,open ,,space ,,for ,,the ,,storing ,,and ,,shifting ,,of ,,scenery4 7,courtesy of ,l4 ,r4 ,lewis74 ,,chapter ,,vii ,,the ,,stage ,a great deal more attention is being directed--in this country1 at least--to the improvement of the physical requirements of the stage than heretofore4 ,during the past few years1 numerous writers#aj have made a systematic study of theaters abroad and at home1 and revealed the fact that on the whole our theaters1 both before and behind the curtain1 are antiquated1 ill-equipped1 and fall far short of the infinite possibilities which have been made realized in certain cities of ,germany and ,russia4 #aj ,hiram ,kelly ,moderwell1 in his ,the ,theatre of ,to-day 7,lane71 and ,sheldon ,cheney1 in his ,the ,modern ,movement in the ,theatre 7,kennerley71 have rendered signal service in this field4 ,the first book contains a thoroughly systematic account of practically all the new theatrical experiments4 ,revolutionary experiments in lighting1 as well as in the disposition of stage settings1 have1 during the past ten or twelve years1 opened up fields formerly undreamed of4 ,it is not the purpose of this chapter to describe at great length these innovations2 the reader is referred to the books of ,moderwell and ,cheney mentioned in the footnote above4 ,a few elementary suggestions1 however1 which may be used by skilled and intelligent amateurs1 will prove suggestive to the average director and stage manager4 ,it is likely that by far the greater number of amateur plays will be performed on a stage which is already built and equipped4 ,in such cases1 all the stage manager can do is to use his own scenery and at least have a voice in the matter of lighting4 ,still1 many plays are performed on improvised stages1 in private homes1 clubs1 or schoolrooms1 or out-of-doors4 ,this allows the stage manager a little more leeway1 and often he may modify the size of the stage to suit himself1 and introduce some innovations of his own4 ,to those who are in a position either to build or temporarily construct their own stages1 this chapter is primarily addressed4 ,we shall now proceed to a consideration of a few of the more important innovations on the modern stage4 ,the first of these is undoubtedly3 ,the ,cyclorama4 ,this is a white or tinted backing for the stage1 built in the form of a segment of a vertical cylinder4 ,it may be constructed of canvas or of solid plaster4444 ,now1 if made of canvas1 it is more usually kept1 when not in use1 on a vertical roller1 at one side of the stage1 near the front1 and carried around behind the stage1 unrolling from its cylinder the while1 until it connects with a similar cylinder at the opposite side of the stage4 ,it hangs from a circular iron rail1 and almost completely encloses the stage1 rising to the required distance4444 ,it can be rolled up on its original cylinder when it is not needed1 leaving the stage once more approachable from all sides4444 ,the chief uses of the cyclorama are evident4 ,it presents a continuous dead white or tinted background1 which1 when played upon by the proper lights1 gives a striking illusion of depth and luminous atmosphere4444 ,but perhaps the chief value of the cyclorama1 from the standpoint of the stage artist1 has not yet been mentioned4 ,for the new device changes altogether the problem of lighting4 ,ordinary sunlight is1 as we know1 not a direct light1 but an infinitely reflected light1 bandied about by the particles of air and by the ordinary physical objects on which it strikes4 ,the mellowness and internal luminosity of ordinary sunlight is wholly due to this infinite reflection4 ,it was the lack of this that made the old stage lighting1 with its blazing direct artificial glare1 so unreal4 ,the cyclorama1 and especially the dome cyclorama1 permits the stage to be lighted largely or wholly by crisscrossing reflection4 ,the mellow and subtle lighting which makes it possible was altogether unknown under the older methods4#aa #aa ,moderwell's ,the ,theatre of ,to-day4 ,john ,lane ,company4 ,the construction of a cyclorama1 either of cloth or of plaster1 is rather difficult1 but there are certain simple substitutes which may be used to secure some of its elementary effects4 ,the following system has been used by some amateurs with signal success4 ,first take a wooden rod1 or better1 iron pipes1 curved to the desired shape4 ,fasten this framework either to the ceiling of the loft or1 if that is too high1 to the wings4 ,on the rod hang curtains of burlap1 or some similar material1 or else two or three thicknesses of cheesecloth1 so that they fall in simple folds4 ,the color will depend on the sort of play to be produced and the kind of lights used4 ,as a rule1 dark tan1 green1 or dark red are the best colors1 and can be used on many occasions and for nearly every sort of play4 ,whether the cyclorama thus improvised be permanent or temporary1 this is one of the best possible backgrounds4 ,in out-of-door scenes1 it gives a suggestion of distance4 ,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 means3 ,a plain sand-colored floor cloth4 ,a backdrop or cyclorama of sky-blue against which very low sand mounds appearing as if at great distance1 with palm trees1 also made small by distance4 ,these mounds and palm trees should be painted low on the backdrop1 since a vast stretch of level sand is what is to be suggested4 ,it would even be possible to use a plain blue sky drop1 and run some sand-colored cambric into mounds across the back of the stage1 so as to break the sky line4 ,it is not necessary1 though1 to paint the cyclorama3 darker cloth1 made to represent mounds1 thrown across the lower part of the cyclorama1 would be equally effective4 ,further examples of what can be done with the cyclorama will be cited in the chapter on ,lighting4 ,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 small1 according to the demands of the play4 ,usually the proscenium looks like the following diagram4 ,illustration3 ,,an ,,ordinary ,,box-,,set4 ,,from ,,dumas ,,fils' ,,the ,,money ,,question1 ,,produced ,,at ,,tufts ,,college4 7,courtesy of ,l4 ,r4 ,lewis74 ,suppose one scene of a play calls for a large courtroom filled with people4 ,obviously1 all the stage space is required4 ,but suppose that the next scene is a small antechamber4 ,on the average stage the discrepancy is at once observed1 and the effect is more than likely ridiculous4 ,even if the sets used are box sets 7that is1 with three walls and not mere conventional screens or curtains71 the effect of great size can easily be obtained in the first scene1 and smallness in the second1 by means of the device about to be described4 ,this applies1 of course1 to plays where the same set must be used for both scenes4 ,if1 however1 a different set is used for the antechamber scene1 the new device is imperative4 ,illustration ,first1 construct two tall screens 7on a wooden framework71 made either of painted canvas or draped cloth1 of some dark and subdued tone1 and place them on each side of the stage1 just behind the proscenium arch1 as in the diagram3 ,illustration ,these screens can be easily set closer to the center of the stage1 thereby diminishing its size on the sides4 ,then the grand drapery above1 which hangs down from behind the top of the proscenium arch1 and which should be of the same color and material as the side screens1 is lowered4 ,this process makes1 from the inside1 a smaller proscenium arch4 ,many of the ,german and some other stages have added a fourth side to this frame1 by boxing the footlights3 ,illustration ,this last1 besides giving the effect of a detached picture to the set1 prevents the direct rays of the footlights1 when they are used1 from shining up into the gallery4 ,to return to the smaller scene made by the inner proscenium arch1 it will readily be seen that the cyclorama--if there is one--or back wall of the set1 or else the curtain1 must usually be brought forward a little4 ,the advantage of the inner proscenium becomes apparent when such a play as ,the ,merchant of ,venice is performed1 and the absurdity of using a stage of the same size for the ,portia-,nerissa scene in the first act and the casket scene1 is forcibly brought to our attention4 ,the ,revolving ,stage and ,the ,wagon ,stage4 ,these are fully described in the books which have been referred to4 ,they are both extremely valuable1 but as yet too complicated and expensive to be seriously considered for amateurs4 ,the introduction of simpler scenery and simpler lighting does away with much that was difficult to manage under the old system1 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 wagons4 ,as much space as possible should be kept clear behind the curtain2 occasions are likely to arise when the entire stage may be used1 and manipulation of scenery on a full stage is a difficult task4 ,a few suggestions as to lighting and its relation to scenery and color and action will be set forth in the next chapter4 ,,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 theater4 ,this manual is intended primarily to help the producer and the actor1 but the present short chapter may assist the former or his associates in their effort to improve the physical conditions of the stage4 ,the prevalent system of using footlights and border lights is on the whole bad1 because it is false1 unnatural1 and above all unnecessary4 ,says ,moderwell 7pages #ajg-ajh1 in ,the ,theatre of ,to-day73 ,before we can begin work in artistic lighting we must do some destroying4 ,one element in the old lighting must go1 and go completely4 ,we can say this with careless ease now that the ,fortuny system has given us a better way4 ,but even before this invention was made known1 the case against the footlights must have been obvious to any sensitive man of the theatre2 that the 'foots' continued as long as they did indicates the stagnation of the old theatre in all but purely literary art4 ,illustration3 ,from ,the ,architectural ,review4 ,,operation ,,of ,,the ,,fortuny ,,indirect ,,lighting ,,system4 ,the footlights1 with their corresponding border lights from above1 give a flat illumination4 ,they make figures visible1 but not living2 they destroy that most precious quality of the sculptor1 relief4444 ,it is the shadows1 the nooks and crannies of light and shade1 that show a figure to be solid and plastic4 ,the ,fortuny system mentioned is a device by which light is reflected and diffused3 ,an arc-lamp and several pieces of cloth of various colours--these comprise the ,fortuny apparatus in its simplest form4 ,while only an expert electrician and1 if the effects are to be artistic1 an artist1 can erect and manipulate a system built on ,fortuny's principles1 still amateur electricians and directors should do their best1 by means of experimentation1 to use indirect lighting4 ,just how this can be done must rest with individuals1 but two or three experiments may be briefly described4 ,suppose that the cyclorama1 or the hangings masking the back of the stage1 are made of white or light-colored cloth4 ,in this case1 an arc lamp or ordinary calcium light can be placed up in the loft1 above the top of the cyclorama1 and behind it4 ,a little experimenting will reveal many striking light effects4 ,if one light or lamp is not sufficient1 others can be placed in various positions to reenforce it4 ,as conditions vary so greatly1 it is impossible to supply more concise directions4 ,where box sets are used in which there is at least one window1 and provided the scene does not take place at night1 it is much better to have all1 or at least an appreciable portion of the light come in through one window4 ,in the second act of ,charles ,klein's ,the ,music ,master played by ,david ,warfield and produced by ,david ,belasco1 the stage was at one time brilliantly lighted1 supposedly by sunshine from the outside1 from the two opposite sides of the stage6 ,if1 however1 screens and curtains are used 7see chapter on ,scenery and ,costumes71 then it is best to introduce some sort of central reflected light4 ,to station lights on all sides of the stage will first of all make the stage too bright1 and furthermore produce unnatural and distorted shadows3 there is no chance for effects of relief or any illusion of plasticity4 ,if possible1 the footlights should be entirely eliminated2 if not1 then most sparingly used4 ,our stages are for the most part overlighted4 ,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 pictures4 ,the following diagram will show in a rough way the general disposition of the settings3 ,illustration ,the back of the stage 7the shaded area7 was flooded with white light to suggest moonlight4 ,there were no foots or borders2 anything besides the single light would have ruined the effect of perfect placidity4 ,,chapter ,,ix ,,scenery ,,and ,,costumes ,very little need be said regarding the usual conventional sets1 whether they represent interiors or exteriors4 ,the purpose of this chapter is 7#a7 to suggest simple but effective means of staging without using the conventional sets1 and 7#b7 to lay down a few principles as to costuming4 ,by means of the simple devices about to be described1 the amateur is enabled to do without box sets and all the paraphernalia of the old stage4 ,the tendency nowadays is away from naturalism in setting2 the aim is rather to supply simple but beautiful backgrounds with as little obvious effort as possible2 to suggest rather than to represent4 ,when the word conventional is used it is intended to convey the meaning not of old and hackneyed1 but of simple1 suggestive4 ,beardsley's drawings are conventional because attitudes and lines are conventionalized4 ,in the main1 there are three sorts of setting which may be used for practically all kinds of plays4 ,they have been successfully tried out on numerous occasions1 and few plays have been found which cannot fit at least one of them4 #a4 ,the first and simplest of them all consists of draperies and tall screens4 ,the ,greek classics and ,shakespeare are particularly effective with this sort of background4 ,where ,greek plays are given1 a peristyle of wooden pillars up-stage1 behind which may be hung white or tinted curtains1 is especially desirable4 ,any ,greek1 and most ,latin plays1 can be produced with this setting4 ,often such plays are given in the open4 ,if the performance takes place in the daylight1 there is no difficulty as to artificial lighting2 but if it is at night1 then a flood-light must cover the stage4 ,this is placed toward the back1 or else behind the audience4 ,shakespeare is seen at his best with the simple background4 ,a sort of cyclorama may be constructed by using curtains hung at the back of the stage1 upon which is thrown light from one place3 behind the proscenium arch1 from above1 or from one of the sides4 ,suppose that ,the ,comedy of ,errors is the play to be performed4 ,the first scene of the first act is ,a hall in the ,duke's palace4 ,this1 of course1 should be printed on the program1 but on the stage all that is needed is a suggestion or two1 like a gilded chair1 and a painted white bench or two4 ,these are not needed in the action1 but they serve to create an atmosphere4 ,the second scene is ,a public place4 ,absolutely no props or furniture are needed2 indeed1 their very absence indicates the place4 ,the first scene of the second act is the same4 ,the curtains around the stage must be made in sections1 in order to allow the actors to enter and exit through them4 ,the lines are always sufficient to indicate where a person is coming from or going to4 ,in the first scene of the third act1 ,dromio of ,syracuse says3 ,,dro4 ,s4 7within74 ,mome1 malt-horse1 capon1 coxcomb1 idiot1 patch6 ,either get thee from the door1 or sit down at the hatch3 ,dost thou conjure for wenches1 that thou call'st for such store1 ,when one is one too many8 ,go1 get thee from the door4 ,a house is evidently intended to be represented1 but it is not necessary that we see it3 ,dromio of ,syracuse can speak from behind the curtain4 ,the convention will readily be accepted4 ,nor is it necessary to differentiate the various public places1 except for the sake of variety3 perhaps a bench or two now and then will accomplish this purpose4 ,and when1 in the first scene of the fifth act1 the public place is before an abbey1 still there is no need of any definite set pieces4 ,from time to time1 doubtless some special article of furniture or set piece of some kind will be mentioned in the text1 not elsewhere1 in which case it can easily be supplied4 ,this ,shakespeare-without-scenery is not the only method by which ,shakespeare can be performed1 but it is the easiest and1 if done with taste1 the most effective4 ,let us now take rather a more difficult play1 ,twelfth ,night4 ,the first scene of the first act is ,an apartment in the ,duke's palace4 ,the ,duke sits on a sort of throne or sofa4 ,in ,max ,reinhardt's production of this play at the ,deutsches ,theater in ,berlin1 the set consisted simply of a semicircular lounge extending all the way across the stage4 ,it was covered with dark blue plush2 the hangings were of the same color4 ,a warm yellow light directed from above flooded the stage4 ,either a throne or sofa for the ,duke1 then1 and a few other chairs for the remaining characters1 who sit down--the musicians stand--or else1 following ,reinhardt1 a semicircular lounge4 ,this is all4 ,the second scene is ,the seacoast4 ,the stage is bare here4 ,the third scene is ,a room in ,olivia's house4 ,different chairs or sofas and a throne for ,olivia4 ,the following scene is the same as scene one4 ,the first scene of the second act is the seacoast once more4 ,the next is ,a street4 ,no furniture4 ,the third scene is ,a room in ,olivia's house2 evidently not the same as that in which ,olivia first appeared4 ,the room is probably in or near the wine cellar4 ,a table1 therefore1 and three or four chairs1 will not be amiss4 ,the next is the same as in act one1 scene one4 ,the fifth scene of the second act is ,olivia's garden4 ,here the stage business requires a few definitely placed shrubs and a bench or two4 ,the best arrangement of this scene is suggested in the diagram3 ,illustration ,malvolio comes down-stage ,center1 while the others are hiding behind one of the benches1 either ,left or ,right4 ,these benches1 as indicated in the diagram1 are partially concealed by shrubs4 ,baytrees1 planted in green-painted tubs1 make especially good decorations4 ,they can be used on many occasions1 as will be shown later4 ,nor1 in the case of the scene from ,twelfth ,night1 are they so high as to conceal the actors who are supposed to be hidden behind them4 ,the following scene is the same4 ,the second scene of the third act is the cellar room again4 ,following this is ,a street2 then ,olivia's garden once more4 ,the next new scene is the first of the fourth act3 ,a street before ,olivia's garden4 ,perhaps a little variety can be introduced in the shape of a shrub or two4 ,the remaining scenes are repetitions of those already considered4 ,the suggestions above given are extremely summary1 but1 if acted upon1 will be seen to prove sufficient4 #b4 ,out-of-door scenes of a more elaborate character1 in plays like ,rostand's ,the ,romancers1 often require more complicated sets2 they may still be produced with the most elementary sort of background1 however4 ,the stage directions of this play are as follows3 ,,scene3 ,the stage is divided by an old wall1 covered with vines and flowers4 ,at the right1 a corner of ,,bergamin',s park is seen2 at the left1 a corner of ,,pasquinot',s4 ,on each side of the wall1 and against it1 is a rustic bench4 ,this is set in the following manner3 ,illustration ,the background hangings may be of tan burlap or else dark green4 ,gaps1 covered by the folds1 must be made up- and down-stage to allow the actors to enter and leave the stage4 ,the wall must be constructed of solid wood1 in order to support the actors1 and painted to suggest bricks4 ,there is a rustic bench against each side of the wall4 ,though they are not mentioned in these preliminary directions1 there are other rustic benches1 down-stage to the extreme right and left4 ,these are used later in the act4 ,in the second act1 the wall has disappeared4 ,the benches which were formerly against it1 are removed to the extreme right and left4 ,the extra benches mentioned in the first act have of course been removed4 ,there are a few extra pots of flowers and two or three plaster statues4 ,to the right is a small garden table1 with chairs about it4 ,this scene is set as follows3 ,illustration ,the third act stage directions are3 ,the scene is the same except that the wall is being rebuilt4 ,bricks and sacks of plaster lie about4 ,a few bricks may serve to indicate the partly finished wall4 ,since the scene of this play is laid at first in parks1 there ought to be some suggestion as to this fact4 ,here bay- or box-trees can be used4 ,perhaps three or four should be arranged more or less symmetrically at the back of the stage1 and as many to the right and left1 down-stage4 ,one or two can be added1 close to the wall4 ,this is all that is absolutely necessary4 ,the foregoing remarks have been applied largely to romantic plays1 but what is to be done in modern realistic pieces8 ,there are two courses open1 besides the conventional one 7using box sets73 ,the first method is to use the regular hangings as before and set a few needful articles of furniture about the stage4 ,this is not realistic1 but there are many realistic plays which can be produced without correspondingly realistic settings4 ,of course1 where windows are referred to and used1 there must be real windows1 and where a character is directed to hang a picture on a wall1 there must be a wall4 ,however1 there are many realistic plays where box sets are not required4 ,hermann ,sudermann's ,the ,far-away ,princess is a case in question4 ,the author has definitely suggested a certain setting for the play1 but as his suggestions are not absolutely essential they may be modified4 ,the directions are3 ,the veranda of an inn4 ,the right side of the stage and half of the background represent a framework of glass enclosing the veranda4 ,the left side and the other half of the background represent the stone walls of the house4 ,to the left1 in the foreground1 a door2 another door in the background1 at the left4 ,on the left1 back1 a buffet and serving table4 ,neat little tables and small iron chairs for visitors are placed about the veranda4 ,on the right1 in the centre1 a large telescope1 standing on a tripod1 is directed through an open window4 ,,rosa1 dressed in the costume of the country1 is arranging flowers on the small tables4 ,,frau ,,lindemann1 a handsome1 stoutish woman in the thirties1 hurries in excitedly from the left4 ,if the dramatist's stage directions are implicitly followed1 a realistic set will be required4 ,the scene as set according to the diagram1 has1 however1 often been used3 ,illustration ,once more1 the little shrubs may be used in order to give an atmosphere of outdoors4 ,or1 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 7published by ,french7 is set as follows3 ,,scene3 ,an office1 fitted up with various articles of parlor furniture--rather pretentious in appearance4 ,to the right1 a table with letter-files1 and a safe2 beside the safe1 a bookshelf4 ,at the back is the main entrance2 there are other doors1 right and left1 one opening upon a bed-room1 the other upon the parlor4 ,here the setting is so usual1 so conventional1 that no actual room is required3 merely the table1 chairs1 safe1 etc41 as called for4 ,of course1 it is not imperative that such plays should be set in this manner3 the arrangement with screens about to be described is usually the best way4 ,the point here to be impressed is that realistic sets are not always required for realistic plays4 #c4 ,by the introduction of screens--not to be confused with the large screens mentioned by ,gordon ,craig1 however--practically any realistic play can be produced4 ,the diagram below will afford some idea of the very simple principle3 ,illustration ,three screens1 about seven feet high1 made in three sections1 and covered with burlap or some similar material1 are all that will usually be required on a moderately small stage4 ,these can be set in various ways4 ,if an ordinary room is called for1 they may be set as in the above diagram4 ,brignol and his ,daughter may be staged by using three screens 7as in the diagram above73 the opening at the back is the center door2 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 arch4 ,the furniture is set in this scene as it is required in the stage directions4 ,if the proscenium opening is too large1 then the grand drapery can be lowered to within two or three feet of the top of the screens1 and the side screens1 behind the sides of the proscenium arch1 brought closer together4 ,behind the screens representing the room1 burlap or a suitable substitute may be hung4 ,to take concrete examples once more1 the setting of the first act of ,a ,scrap of ,paper 7the adaptation by ,j4 ,palgrave ,simpson7 is thus described in the text3 ,drawing-room in a ,french country house4 ,windows to the floor1 ,r4,c4 ,right ,center and ,l4,c4 ,left ,center1 at back1 looking out on gardens and park4 ,the window ,l4,c4 is at first closed in with barred ,venetian shutters4 ,the window ,r4,c4 opens on the garden4 ,fireplace1 ,c4 ,center between the windows1 surmounted by a mirror4 ,on each side of the mirror is a bracket1 within reach of the hand2 the one ,r4 supporting a statuette of ,,flora1 the other1 ,l41 empty4 ,doors1 ,r4 #b ,e ,see diagram and ,l4 #b ,e4 ,sofas ,r4 and ,l4 up-stage4 ,at ,c4 of stage is a round table1 with a lamp1 and an embroidery frame1 a book and other objects scattered upon it in great disorder4 ,chairs ,r4 and ,l4 of table4 ,arm chairs ,r4,c4 and ,l4,c41 downstage4 ,the furniture is to be rich but old-fashioned1 and a little worn4 ,carpet down4 ,five screens are here required3 one at the back1 behind the fireplace2 and two on each side of the stage4 ,only two of the three folding sections of each are used4 ,illustration ,the fireplace must be practical--that is1 it must have a wooden framework4 ,in case a mirror is desired1 it can be lower than a mirror usually is1 and made of mosquito netting1 to avoid reflections4 ,a very few pictures may be hung on the screens4 ,the hangings at the back of the stage--masking the bare walls--are of the same sort as have been described before1 but the color of the screens must harmonize with them4 ,with such a background1 and by means of screens1 shrubs1 and a few necessary set pieces1 like the wall in the ,rostand play1 the author has seen a dozen widely different plays produced by amateurs1 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 ,belasco4 ,as may be easily imagined1 the possibilities of variation upon these simple settings are infinite4 ,experimentation1 as always1 will reveal new fields4 99 99 99 99 99 ,before closing the chapter1 a word may be said of the flat background near the curtain line4 ,about four or five feet behind the curtain line--i4e4 the place where the curtain falls to the stage--hang a drop1 either of burlap1 or else a white drop like that used in stereopticon lectures4 ,this1 either played upon by lights in the house1 or from behind the stage1 forms a striking background for scenes of pantomime1 a street--as in ,twelfth ,night--a wall1 a forest1 almost anything4 ,such a screen was most effectively used in one scene of ,reinhardt's production of ,sumurun4 ,a still more striking effect was achieved in a performance of ,peer ,gynt at the ,lessing ,theater in ,berlin4 ,the scene was the one in which ,peer ,gynt is before the pyramid in ,egypt4 ,about five feet behind the curtain line a white screen was dropped4 ,diagonally across this screen was thrown a dark purple light1 while over the remaining space a saffron yellow played4 ,that was all1 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 be4 ,in case the effect of a distant city is desired1 then another 7darker and thicker7 cloth1 cut to represent the outlines of buildings and the like1 can be sewed against the drop1 thus producing the effect of a silhouette4 ,in fine1 the whole problem of staging resolves itself into this3 achieve your effects in as simple a way as possible2 suggest1 do not try to represent2 scenery1 which ought indeed to be a delight to the eye1 is after all only background4 ,experiment1 but never hesitate to ask the advice of those who know the basic principles of color1 line1 and form1 as well as those who have technical knowledge of every branch of the art and craft of the theater4 ,costumes4 ,in his introductory remarks to ,the ,romancers1 ,rostand says that the action may take place anywhere1 provided the costumes are pretty4 ,this is the basis of the few brief remarks to be made here on the subject of costumes4 ,it must not be concluded1 however1 that any costumes may be used on any occasion4 ,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 transpires4 ,but it makes little difference whether ,hamlet wears a tenth or eleventh century ,danish costume1 or one of the age of ,elizabeth4 ,it is a well-known fact that in ,shakespeare's days there was little or no regard for historical accuracy in costumes1 and that even in the historical plays the actors wore contemporary clothes4 ,the point to be impressed is not that we should play ,julius ,caesar in dress clothes1 but that such discrepancies as were allowed in ,elizabethan days could not have made very much difference1 and that nowadays it is not worth while to spend too much time over details4 ,in ,greek plays it is well to use ,greek costumes1 because we have long been accustomed to associate some sort of archeological detail with plays of a certain age2 and besides1 ,greek costumes are beautiful4 ,but1 and this is of great importance1 do not strive to be historically exact3 so long as costumes are beautiful and harmonize with the setting1 and so long as they are not absurd or too much out of harmony with the play1 they are good4 ,there are numerous exceptions4 ,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 setting4 ,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 like4 ,if the play were given in the year #bejj ,a4,d41 it is safe to say that ,elizabethan or ,queen ,anne costumes might do just as well4 ,however1 historical accuracy1 when it can be obtained as easily as not1 is never superfluous4 ,illustration ,illustration3 ,,two ,,views ,,of ,,the ,,stage ,,at ,,the ,,university ,,of ,,north ,,dakota4 7,courtesy of ,frederick ,h4 ,koch74 ,,chapter ,x ,,selective ,,lists ,,of ,,amateur ,,plays ,the following lists1 which do not pretend to completeness1 will at least be found helpful in assisting amateur organizations to choose worth-while plays4 ,the general headings ,classic1 etc1 are clear1 but the following explanations must be made regarding the other markings3 ,an asterisk 7997 indicates that the play is in one act4 ,those not so marked are in more than one act1 and are in most cases full length4 ,the letter ,s denotes serious or tragic plays1 intended in nearly every case for advanced amateurs4 ,the letter ,r denotes plays of a romantic and poetic nature4 ,the letter ,c denotes comedies1 farces1 and plays in lighter vein4 ,the letter ,f in parenthesis after the title indicates that a fee is charged for production by amateurs4 ,the publisher or agent 7see footnotes71 must be consulted for particulars4 ,the letter ,d denotes modern dialect plays1 like those of ,lady ,gregory4 ,most of these plays are included under the general heading of ,classic because the costumes and setting1 though they may be modern1 are not the familiar modern costumes and settings4 ,all plays not included in the first division ,classics1 including modern costume and historical plays are to be found in the second division3 ,modern plays4 ,it is nearly always unwise for an amateur organization to take a play on faith2 it is therefore advisable for it to collect a library of amateur plays1 from which successive generations of members can at least form some judgment of the field from which they are to select their plays4 ,this list makes no pretence to completeness4 ,it has been the writer's purpose merely to mention a number of classic and standard plays which amateurs can produce without too great difficulty4 ,illustration ,illustration3 ,,scenes ,,from ,,euripides' ,,electra4 ,,produced ,,at ,,illinois ,,state ,,college4 7,courtesy of ,rollin ,h4 ,tanner74 ,,classics1 ,,including ,,modern ,,costume ,,and ,,historical ,,plays ,greek ,,rs ,euripides1 ,alcestis 7,samuel ,french2 ,walter ,h4 ,baker7 ,,rs ,sophocles1 ,antigone 7,samuel ,french2 ,e4 ,p4 ,dutton1 in ,everyman's ,library7 ,,rc ,aristophanes1 ,the ,clouds 7,macmillan2 ,the ,drama1 ,victorian edition7 ,c ,lysistrata 7,samuel ,french4 ,another version1 by ,laurence ,housman1 published by ,the ,woman's ,press1 ,london7 ,latin ,c ,plautus1 ,the ,twins 7,samuel ,french7 ,c ,terence1 ,phormio 7,samuel ,french7 ,spanish ,,rc ,lope de ,vega1 ,the ,dog in the ,manger 7,the ,drama1 ,victorian edition7 ,,rc ,calderon1 ,keep ,your ,own ,secret 7,macmillan7 ,,rc ,benavente1 ,the ,bonds of ,interest 7in ,the ,drama1 ,no4 #bj7 ,italian ,,rc ,goldoni1 ,the ,fan 7,yale ,dramatic ,association7 ,,rc ,the ,beneficent ,bear 7,samuel ,french7 ,,rc ,a ,curious ,mishap 7,mc,clurg7 ,,rcd ,the ,squabbles of ,chioggia 7,the ,drama1 ,august1 #aiad7 ,r99 ,giacosa1 ,the ,wager 7,samuel ,french7 ,french ,c ,brueys 7adaptor of #aeth century anonymous71 ,master ,patelin1 ,solicitor 7,samuel ,french7 ,c ,moliere1 ,the ,merchant ,gentleman ,le ,bourgeois ,gentilhomme 7,samuel ,french2 ,little1 ,brown2 ,bohn ,library1 etc47 ,c99 ,the ,affected ,young ,ladies ,les ,precieuses ridicules ,c ,the ,sicilian ,c99 ,doctor ,love ,l',amour ,medecin ,c99 ,the ,doctor in ,spite of ,himself ,le ,medecin malgre lui ,c ,the ,imaginary ,invalid ,le ,malade imaginaire 7,samuel ,french2 ,little1 ,brown2 ,bohn ,library2 ,putnam1 etc41 publish the above five titles7 ,c99 ,dancourt1 ,woman's ,craze for ,titles 7in ,the ,drama2 ,historical ,publishing ,company1 #aijc1 vol4 viii47 ,c99 ,le ,sage1 ,crispin1 ,his ,master's ,rival 7,samuel ,french7 ,,cr99 ,marivaux1 ,the ,legacy 7,samuel ,french7 ,,cr ,de ,musset1 ,fantasio 7,dramatic ,publishing ,company7 ,,cr99 ,the ,green ,coat 7,samuel ,french7 ,c ,augier1 ,m4 ,poirier's ,son-in-law ,le ,gendre de ,m4 ,poirier 7in ,four ,plays by ,emile ,augier1 published by ,alfred ,a4 ,knopf1 and in ,chief ,european ,dramatists1 published by ,houghton ,mifflin7 ,,cr99 ,banville1 ,gringoire 7,dramatic ,publishing ,company2 ,samuel ,french7 ,,cr99 ,charming ,leandre 7,samuel ,french7 ,c ,sardou1 ,a ,scrap of ,paper ,les ,pattes de mouche 7,samuel ,french7 ,,cr ,the ,black ,pearl 7,samuel ,french7 ,,cr99 ,feuillet1 ,the ,fairy 7,samuel ,french7 ,,cr99 ,rivoire1 ,the ,little ,shepherdess 7,samuel ,french7 ,,cr ,rostand1 ,the ,romancers 7,samuel ,french2 ,walter ,h4 ,baker2 ,heinemann7 ,c99 ,france1 ,the ,man ,who ,married a ,dumb ,wife 7,lane7 7,f7 ,c99 ,picard1 ,the ,rebound 7,samuel ,french7 ,,cr ,zamacois1 ,the ,jesters 7,brentano7 7,f7 ,,sr99 ,bouchor1 ,a ,christmas ,tale 7,samuel ,french7 ,,cr99 ,coppee1 ,the ,violin-,maker of ,cremona 7,samuel ,french7 ,,sr99 ,pater ,noster 7,samuel ,french7 ,,sr99 ,theuriet1 ,jean-,marie 7,samuel ,french7 ,danish ,c ,holberg1 ,the ,loquacious ,barber 7,the ,drama1 ,victorian edition7 ,c ,captain ,bombastes ,thunderton 7in ,three ,comedies by ,ludvig ,holberg1 published by ,longmans7 7,requires cutting7 ,,cr ,hertz1 ,king ,rene's ,daughter 7,samuel ,french7 ,german ,,cr ,lessing1 ,minna von ,barnhelm 7in ,bohn ,library1 ,macmillan7 ,c ,the ,scholar 7in ,bohn ,library7 ,c ,schiller1 ,nephew or ,uncle 7,walter ,h4 ,baker7 ,english ,s ,anonymous1 ,everyman 7,everyman's ,library2 ,dutton7 ,r ,lyly1 ,alexander and ,campaspe 7,scribner1 and in ,everyman's ,library7 7,requires cutting7 ,r ,greene1 ,friar ,bacon and ,friar ,bungay 7,dutton7 7,requires cutting7 ,,cr ,beaumont and ,fletcher1 ,the ,knight of the ,burning ,pestle 7,scribner2 ,everyman's ,library2 etc47 7,requires cutting7 ,,cr ,dekker1 ,old ,fortunatus 7,scribner7 7,requires cutting7 ,,cr ,the ,shoemaker's ,holiday 7,scribner2 ,dutton7 7,requires cutting7 ,,cr ,heywood ,the ,fair ,maid of the ,west 7,scribner7 7,requires cutting7 ,,sr ,jonson1 ,the ,sad ,shepherd 7,dutton7 7,requires cutting7 ,,cr ,the ,case is ,altered 7in any complete set of ,ben ,jonson7 7,requires cutting7 ,shakespeare 7no plays need be mentioned4 ,the ,ben ,greet ,shakespeare for ,amateurs contains good directions for staging and acting7 ,c ,udall1 ,ralph ,roister ,doister 7,macmillan2 ,dent7 7,requires cutting7 ,,cr ,goldsmith1 ,the ,good-natured ,man 7in any edition of ,goldsmith's plays7 ,,cr ,she ,stoops to ,conquer 7in any edition of ,goldsmith's plays7 ,,cr ,sheridan1 ,the ,rivals 7in any edition of ,sheridan's plays7 ,c ,the ,school for ,scandal 7in any edition of ,sheridan's plays7 ,c ,the ,critic 7in any edition of ,sheridan's plays7 ,,cr ,pinero1 ,trelawney of the ',wells' 7,dramatic ,publishing ,company7 7,f7#ab #ab ,apply to ,sanger ,jordan1 #adcb ,broadway1 ,new ,york1 for acting rights4 ,,cr ,housman1 ,a ,chinese ,lantern 7,dramatic ,publishing ,company7 7,f7 ,,cr99 ,bird in ,hand 7,samuel ,french7 7,f7 ,,srd99 ,a ,likely ,story 7,samuel ,french7 7,f7 ,,cr99 ,as ,good as ,gold 7,samuel ,french7 7,f7 ,,srd99 ,the ,snow ,man 7,samuel ,french7 7,f7 ,,sr99 ,nazareth 7,samuel ,french7 7,f7 ,,sr99 ,the ,lord of the ,harvest 7,samuel ,french7 7,f7 ,,sr99 ,the ,return of ,alcestis 7,samuel ,french7 7,f7 ,,cr 7and ,barker71 ,prunella 7,little1 ,brown7 7,f7 ,,cr ,shaw1 ,the ,devil's ,disciple 7,brentano7 7,f7#ac ,,cr ,parker1 ,pomander ,walk 7,samuel ,french7 7,f7 ,,cr99 ,barrie1 ,pantaloon 7,scribner7 7,f7#ac #ac ,apply to ,american ,play ,company1 #cc ,west #dbnd ,st41 ,new ,york4 ,,cr ,bennett and ,knoblauch1 ,milestones 7,doran7 7,f7 ,,cr ,noyes1 ,sherwood 7,stokes7 7,f7 ,,cr ,tennyson1 ,the ,princess 7in any complete edition of ,tennyson7 ,,cr ,the ,foresters 7in any complete edition of ,tennyson7 ,,sr99 ,the ,falcon 7in any complete edition of ,tennyson7 ,r99 ,lord ,dunsany1 ,the ,gods of the ,mountain 7,little1 ,brown7 7,f7 ,,cr99 ,the ,lost ,silk ,hat 7,little1 ,brown7 7,f7 ,,crd99 ,the ,glittering ,gate 7,little1 ,brown7 7,f7 ,r ,king ,argimenes and the ,unknown ,warrior 7,little1 ,brown7 7,f7 ,,rs99 ,yeats1 ,the ,land of ,heart's ,desire 7,macmillan2 ,samuel ,french7 ,,cd99 ,the ,pot of ,broth 7,macmillan7 7,f7#ad ,,rs99 ,deirdre 7,macmillan7 7,f7#ad ,,rs99 ,the ,king's ,threshold 7,macmillan7 7,f7#ad #ad ,apply to ,samuel ,french1 #bh ,west #chth ,st41 ,new ,york4 ,,crd99 ,lady ,gregory1 ,the ,rising of the ,moon 7,putnam7 7,f7#ae ,,cd99 ,the ,workhouse ,ward 7,putnam7 7,f7#ae ,,srd99 ,the ,travelling ,man 7,putnam7 7,f7#ae ,,cd99 ,spreading the ,news 7,putnam7 7,f7#ae ,,cd99 ,the ,jackdaw 7,putnam7 7,f7#ae ,,cd99 ,hyacinth ,halvey 7,putnam7 7,f7#ae ,,sd99 ,hyde1 ,the ,lost ,saint 7,scribner7 ,,sd99 ,the ,twisting of the ,rope 7,poet ,lore7 ,,cd99 ,mayne1 ,the ,turn of the ,road 7,luce7 7,f7 ,,cd ,the ,drone 7,luce7 7,f7 ,,sd99 ,synge1 ,the ,shadow of the ,glen 7,luce7 7,f7#ae ,,cd ,boyle1 ,the ,building ,fund 7,gill1 ,dublin7 7,f7 ,,rc99 ,downs1 ,the ,maker of ,dreams 7,samuel ,french7 7,f7#ae ,sanskrit ,,sr ,kalidasa1 ,sakountala 7,walter ,scott1 ,london2 and ,everyman's ,library7 ,bengali ,,rs ,tagore1 ,the ,post-,office 7,macmillan7 7,f7#ae #ae ,apply to ,samuel ,french1 #bh ,west #chth ,st41 ,new ,york4 ,,modern ,,plays 7,,nineteenth ,,and ,,twentieth ,,centuries1 ,,in ,,which ,,the ,,costumes ,,and ,,settings ,,are ,,modern7 ,italian ,s ,giacosa1 ,as the ,leaves 7in ,the ,drama ,no4 #a1 and by ,little1 ,brown7 ,s ,the ,stronger 7in ,the ,drama1 ,may1 #aiac1 and by ,little1 ,brown7 ,french ,c99 ,augier1 ,the ,post-,script 7,samuel ,french1 and in ,four ,plays by ,emile ,augier1 ,alfred ,a4 ,knopf7 ,,sc ,the ,house of ,fourchambault 7,samuel ,french1 and in ,four ,plays by ,emile ,augier1 ,alfred ,a4 ,knopf7 ,,cr99 ,meilhac and ,halevy1 ,indian ,summer 7,samuel ,french7 ,,cr99 ,panurge's ,sheep 7,samuel ,french7 ,,cr99 ,feuillet1 ,the ,village 7,samuel ,french7 ,c99 ,labiche1 ,the ,two ,cowards 7,samuel ,french7 ,c99 ,grammar 7,samuel ,french7 ,c ,pailleron1 ,the ,art of ,being ,bored 7,samuel ,french7 ,c99 ,bernard1 ,french ,without a ,master 7,samuel ,french7 ,c99 ,i'm ,going6 7,samuel ,french7 ,c99 ,donnay1 ,they6 7,in ,lovers1 ,the ,free ,woman1 and ,they6 7,little1 ,brown7 ,s ,france1 ,crainquebille 7,samuel ,french7 ,c99 ,maurey1 ,rosalie 7,samuel ,french7 ,c99 ,hervieu1 ,modesty 7,samuel ,french7 ,s ,capus1 ,the ,adventurer 7,the ,drama1 ,november1 #aiad7 ,c ,brignol and his ,daughter 7,samuel ,french7 ,c99 ,caillavet1 ,choosing a ,career 7,samuel ,french7 ,german ,,sc ,freytag1 ,the ,journalists 7,the ,drama1 ,february1 #aiac7 ,,rc99 ,sudermann1 ,the ,far-,away ,princess 7in ,roses1 ,scribner1 and separately1 by ,samuel ,french7 7,f7 ,s99 ,fritzchen 7in ,morituri1 ,scribner7 ,c99 ,benedix1 ,the ,law-,suit 7,samuel ,french7 ,c99 ,the ,third ,man 7,samuel ,french7 ,c99 ,gyalui1 ,after the ,honeymoon 7,samuel ,french7 ,scandinavian ,s99 ,strindberg1 ,the ,stronger 7,scribner7 7,f7 ,,sb ,lucky ,pehr 7,stewart and ,kidd7 7,f7 ,,sc ,bjoernson1 ,the ,newly-,married ,couple 7,everyman's ,library2 ,dutton7 ,c ,love and ,geography 7,scribner7 ,s ,ibsen1 ,an ,enemy of the ,people 7,scribner7 ,russian ,c99 ,tchekoff1 ,the ,boor 7,samuel ,french2 ,scribner7 ,c99 ,a ,marriage ,proposal 7,samuel ,french2 ,scribner7 ,c99 ,the ,tragedian in ,spite of ,himself 7,scribner7 ,c99 ,andreyev1 ,the ,dear ,departing 7,henderson1 ,london71 and same play ,love of ,one's ,neighbor 7,boni1 ,new ,york7 ,english ,c ,pinero1 ,the ,schoolmistress 7,walter ,h4 ,baker7 7,f7 ,c ,the ,magistrate 7,walter ,h4 ,baker7 7,f7 ,,cs ,the ,benefit of the ,doubt 7,dramatic ,publishing ,company7 7,f7 ,c ,the ,amazons 7,walter ,h4 ,baker7 7,f7 ,c ,dandy ,dick 7,walter ,h4 ,baker7 7,f7 ,c ,jones1 ,the ,manoeuvres of ,jane 7,samuel ,french7 7,f7 ,,cs ,the ,liars 7,samuel ,french7 7,f7 ,c ,dolly ,reforming ,herself 7,samuel ,french7 7,f7 ,c ,wilde1 ,the ,importance of ,being ,earnest 7,walter ,h4 ,baker2 ,nichols2 ,luce2 ,putnam2 and ,french7#af ,c99 ,sutro1 ,the ,bracelet 7,samuel ,french2 ,brentano7 7,f--,samuel ,french7 ,c99 ,sutro1 ,the ,man on the ,kerb 7,samuel ,french2 ,brentano7 7,f--,samuel ,french7 ,c99 ,a ,marriage ,has ,been ,arranged 7,samuel ,french2 ,brentano7 7,f--,samuel ,french7 ,,cr99 ,barrie1 ,the ,will 7,scribner7 7,f7#af ,,cr99 ,the ,twelve-,pound ,look 7,brentano7 7,f7#af #af ,apply to ,sanger ,jordan4 ,,cr ,the ,admirable ,crichton 7,doran7 7,f7#ag ,,cr ,quality ,street 7,doran7 7,f7#ag #ag ,apply to ,sanger ,jordan4 ,c ,shaw1 ,you ,never ,can ,tell 7,brentano7 7,f7#ah ,,cr ,candida 7,brentano7 7,f7#ah ,c99 ,press ,cuttings 7,brentano7 7,f7#ah ,c99 ,how ,he ,lied to ,her ,husband 7,brentano7 7,f7#ah ,,cr ,arms and the ,man 7,brentano7 7,f7#ah #ah ,apply to ,american ,play ,co4 ,s ,barker1 ,the ,voysey ,inheritance 7,little1 ,brown7 7,f7 ,,sc ,bennett1 ,what the ,public ,wants 7,doran7 7,f7 ,,rc ,milestones 7,doran7 7,f7 ,s ,cupid and ,commonsense 7,doran7 7,f7 ,c ,the ,great ,adventure 7,doran7 7,f7 ,c99 ,polite ,farces 7,doran7 7,f7 ,s ,baker1 ,chains 7,luce7 7,f7 ,s99 ,gibson1 ,mates 7,macmillan7 7,f7 ,s99 ,on the ,road 7,macmillan7 7,f7 ,c ,hankin1 ,the ,cassilis ,engagement 7,samuel ,french7 7,f7 ,c ,the ,return of the ,prodigal 7,samuel ,french7 7,f7 ,c ,the ,charity that ,began at ,home 7,samuel ,french7 7,f7 ,c99 ,houghton1 ,the ,dear ,departed 7,samuel ,french7 7,f7 ,c99 ,the ,fifth ,commandment 7,samuel ,french7 7,f7 ,c99 ,phipps 7,samuel ,french7 7,f7 ,,sc ,houghton1 ,independent ,means 7,samuel ,french7 7,f7 ,s ,galsworthy1 ,the ,silver ,box 7,scribner7 7,f7#ai ,c ,joy 7,scribner7 7,f7#ai ,,sc ,hamilton1 ,just to ,get ,married 7,samuel ,french7 7,f7 ,,sc99 ,chapin1 ,augustus in ,search of a ,father 7,gowans and ,grey1 ,london7 7,f7 ,,dcr99 ,brighouse1 ,lonesome ,like 7,samuel ,french7 7,f7 ,,sd99 ,the ,price of ,coal 7,samuel ,french7 7,f7 ,c ,monkhouse1 ,the ,education of ,mr4 ,surrage 7,sidgwick and ,jackson1 ,london7 7,f7 ,c ,mason1 ,green ,stockings 7,samuel ,french7 7,f7 ,,sd ,ervine1 ,jane ,clegg 7,holt7 7,f7 ,,dcr99 ,fenn and ,pryce1 ',op o' me ,thumb 7,samuel ,french7 7,f7 ,american ,s ,gillette1 ,secret ,service 7,samuel ,french7 7,f7 ,s ,held by the ,enemy 7,samuel ,french7 7,f7 ,c ,too ,much ,johnson 7,samuel ,french7 7,f7 ,c ,mac,kaye1 ,anti-,matrimony 7,stokes7 7,f7 ,c ,thomas 7,a4 ,e471 ,her ,husband's ,wife 7,doubleday1 ,page7 7,f7#ai #ai ,apply to ,samuel ,french for producing rights4 ,s99 ,middleton1 ,the ,failures 7,holt7 7,f7#bj ,s99 ,the ,groove 7,holt7 7,f7#bj ,s99 ,tradition 7,holt7 7,f7#bj #bj ,apply to ,samuel ,french for producing rights4 ,c99 ,macmillan1 ,short ,plays 7,stewart and ,kidd7 7,f7 ,c ,forbes1 ,the ,commuters 7,samuel ,french7 7,f7 ,c ,the ,traveling ,salesman 7,samuel ,french7 7,f7 ,s ,klein1 ,the ,lion and the ,mouse 7,samuel ,french7 7,f7 ,r ,thomas1 ,arizona 7,dramatic ,publishing ,company7 7,f7 ,,rd ,alabama 7,dramatic ,publishing ,company7 7,f7 ,c ,mrs4 ,leffingwell's ,boots 7,samuel ,french7 7,f7 ,c ,the ,other ,girl 7,samuel ,french7 7,f7 ,c ,oliver ,goldsmith 7,samuel ,french7 7,f7 ,c ,the ,earl of ,pawtucket 7,samuel ,french77,f7 ,c ,the ,capitol 7,samuel ,french7 7,f7 ,,collected ,,volume ,,of ,,plays #a4 ,representative ,one-,act ,plays by ,american ,authors1 edited by ,margaret ,g4 ,mayorga 7,little1 ,brown71 contains a large number of suitable plays for amateurs4 ,among these are3 ,r99 ,sam ,average1 by ,percy ,mac,kaye 7,f7 ,r99 ,six ,who ,pass ,while the ,lentils ,boil1 by ,stuart ,walker 7,f7 ,s99 ,in the ,zone1 by ,eugene ,o',neill 7,f7 ,r99 ,the ,wonder ,hat1 a ,harlequinade by ,ben ,hecht and ,kenneth ,sawyer ,goodman 7,f7 ,c99 ,suppressed ,desires1 by ,george ,cram ,cook and ,susan ,glaspell 7,f7 ,s99 ,the ,last ,straw1 by ,bosworth ,crocker 7,f7 #b4 ,representative ,one-,act ,plays by ,british and ,irish ,authors1 edited by ,barrett ,h4 ,clark 7,little1 ,brown71 contains1 among others1 the following plays suited to the requirements of amateurs3 ,r99 ,the ,widow of ,wasdale ,head1 by ,arthur ,pinero 7,f7 ,c99 ,rococo1 by ,granville ,barker 7,f7 ,r99 ,the ,snow ,man1 by ,lawrence ,housman 7,f7 ,c99 ,fancy ,free1 by ,stanley ,houghton 7,f7 #c4 ,fifty ,contemporary ,one-,act ,plays1 edited by ,frank ,shay and ,pierre ,loving 7,stewart-,kidd71 includes the following plays for amateurs3 ,c99 ,literature1 by ,arthur ,schnitzler 7,f7 ,c99 ,francoise' ,luck1 by ,georges de ,porto-,riche 7,f7 ,s99 ,mary's ,wedding1 by ,gilbert ,carman 7,f7 ,c99 ,a ,sunny ,morning1 by the ,quinteros 7,f7 ,,appendices ,,appendix ,i ,,copyright ,,and ,,royalty ,the following statement regarding royalties on amateur plays was prepared by ,mr4 ,allen ,j4 ,carter1 an attorney of ,chicago1 for one of the ,drama ,league pamphlets listing amateur plays3 ,the copyright law of the ,united ,states requires that every play1 whether published or unpublished1 for which copyright protection is claimed1 must be registered in the copyright office at ,washington1 ,d4,c4 ,until such registration1 no action for infringement of copyright can be maintained4 ,the register of copyrights keeps a complete record and index of all copyright entries and publishes a catalogue of such entries at regular intervals4 ,dramatic works are entered under ,class ,d and are found indexed under that heading in ,part ,i1 ,group ,,ii of the catalogues4 ,copies of these catalogues are on file in most of the larger public libraries1 and sets or parts of sets may be purchased from the ,superintendent of ,public ,documents at ,washington1 ,d4,c4 ,anyone wishing to learn whether a particular play has been properly entered for copyright need only consult a set of these catalogues4 ,if such a set is not available1 the information will be promptly furnished by the register of copyrights1 ,washington1 ,d4,c1 upon request4 ,whenever a play has been published1 examination of a copy of an authorized printed edition will disclose whether such play has been properly copyrighted4 ,the law requires that a notice of copyright must be placed either upon the title page1 or upon the page immediately following1 of each copy published or offered for sale in the ,united ,states4 ,such notice must consist either of the word ',copyright' or the abbreviation ',copr4'1 accompanied by the name of the copyright proprietor and the year in which copyright was secured by publication4 ,if published prior to ,march #d1 #aiji1 the notice may also be in the following form3 ',entered according to ,act of ,congress in the year ----1 by ,a4 ,b4 in the office of the ,librarian of ,congress at ,washington4' ,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 mentioned1 the play then and forever after becomes the property of the public and may be performed and printed at will by anyone4 ,no subsequent attempt to copyright such play would be valid1 and any valid copyright previously secured would be vitiated4 ,a play which has never been published nor offered for sale1 and which exists only in manuscript form1 may be copyrighted upon proper entry being made at the copyright office in ,washington1 ,d4,c4 ,should such play be later published1 however1 the publication must comply with all the requirements of the law as to notice of copyright4 ,any person who infringes the copyright in any play shall be liable3 7a7 ,to an injunction restraining said infringement2 7b7 to pay actual damages to the copyright proprietor1 or in place of actual damages #ajj4jj for the first infringing performance and #ej4jj for each succeeding one2 7c7 to imprisonment not to exceed one year1 or to a fine not to exceed #a1jjj4jj1 or both1 wherever such person has infringed such copyright wilfully and for profit4 ,it follows1 therefore1 that if any group of amateurs perform a copyrighted play without having obtained the consent of the author or copyright proprietor1 they are collectively liable to damages of at least #ajj4jj under whatever conditions the performance is given4 ,if they do it wilfully and for profit1 they are in addition each individually liable to fine and imprisonment under the criminal provision of the act4 ,,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 volume4 ,however1 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 subject4 ,the author acknowledges his obligation to ,miss ,grace ,griswold1 who wrote the article1 for permission to make this use of it4 ,how and ,where ,lines ,come into the ,face ,a ,study in ,make-up by ,grace ,griswold ,nearly all great actors are masters of make-up4 ,they must be1 for the illusions of the stage are no less pictorial than those of painting and sculpture1 with the added elements of movement and voice1 all of which must be brought into working harmony with the thought and feeling of the part1 in a perfect portrayal4 ,any serious incongruity in externals is felt at once1 and destroys the illusion4 ,women have not done as much as men in facial transformation1 except in the way of burlesque and grotesquerie4 ,women's make-ups1 on the whole1 are far more conventional4 ,the female face is more difficult to change without revealing the tricks4 ,heavy furrows and deep coloring are possible only for low types4 ,men can effect great changes by the use of beards and moustaches4 ,a woman's art must be far subtler4 ,look at the men across the way4#ba ,notice their eyes4 ,we always see the eyes first1 although the mouth is a more unerring key to character4 ,the mouth for emotions and impulses1 and the eyes for thoughts4 ,as the mouth is the gateway of the soul1 so the eyes are its windows1 but1 like all windows1 their function is rather to give light and view to the interior than to expose it to the impertinence of passers-by4444 ,his level brows1 which show him to be of a practical or scientific turn of mind1 are deeply contracted4 ,so much so1 that not only are there two perpendicular lines between them1 but one across the top of the nose as well4 ,the heavy bone formation which the brows outline1 indicates rare powers of observation4 ,but this man has come a cropper4 ,see how restless and unseeing are his eyes6 ,he is searching for a solution to the problem which is troubling him4 ,it is a purely intellectual problem1 for the mouth1 which is the indication of the emotions and passions1 is unaffected by what is going on above4 ,there is nothing sinister about the problem3 you see that the eyes are wide open4 ,now it is settled1 because he appears focussed3 he is following a single line of thought4 #ba ,it was imperative that the long article be abridged4 ,the reference here is to ,miss ,griswold's first sentence3 444 take a ride with me in the subway1 where we may perhaps glean some impressions for character portrayal upon the stage4 ,now observe the man on the right4 ,he too is thinking hard1 but his mouth is drawn1 jaws set1 eyelids puckered to a mere slit4 ,he has been wronged1 or believes he has1 and is planning retaliation4 ,his nostrils are dilated1 his breathing heavy4 ,both these men are laboring under excitement1 but we cannot read their natures1 because their habitual expression is distorted4 ,do you see that dear soul opposite8 ,there is work behind that face1 work that has brought with it health4 ,there has been good living1 but no intemperance4 ,see the strong muscles and the glow in the cheeks1 with their ,santa ,claus rotundity4 ,there is passion1 too1 but it is restrained3 the lips are full1 but the center line is straight4 ,with less control1 that line would tend to sag4 ,melancholia is also indicated in downward lines4 ,in the case of this woman1 the lip is perhaps too heavy to show delicacy of character1 but it shows broad sympathy1 and is redeemed by its upper consort1 which reveals1 except at the corners1 a cupid's bow1 full of tenderness4 ,the ,venus de ,milo hardly escapes censure even with the lateral shortness of the lower lip and the softened outlines of the upper4 ,this woman's mouth is larger1 denoting generosity4 ,now look at the eyes--open just to the degree of frankness1 but not of insincerity1 like those of the vapid young person across the way4 ,there are radiations from the corners1 too3 the footprints of many a pleasant smile4 ,the eyebrows have the sympathetic upward sweep toward the nose1 and there is a whimsical twist of the left eyebrow4 ,altogether1 a pleasant countenance4 ,a perfectly straight compressed mouth always implies strength of will4 ,now notice the woman just beyond with her high-bred aristocratic face4 ,the executive nose1 with its delicate arch1 are especially indicative of her character4 ,the eyebrows likewise are arched1 over a full forehead2 very imaginative4 ,the eyes1 slightly veiled in their expression1 show her to be plunged in deep and somewhat troubled thought4 ,her eyes are veiled because she does not see clearly a way out of her problem1 but that way out will be1 we are sure1 something noble4 ,her problem is not so exclusively an intellectual one as that of the man we mentioned3 it must be some economic or philanthropical question--her chin is finely chiselled and held with exquisite poise1 strong and at the same time delicate4 ,her complexion has the pale cast of thought1 but is not unhealthy however4 ,the flesh lies easily upon its firm base4 ,it will never warp into deep furrows4 ,see1 now she has solved or put aside her problem1 for a moment1 and her eyes are open and clear1 and her smile1 as she recognizes a friend1 is engaging and unaffected4 ,her sympathies are less personal1 more detached1 but none the less real1 than other women's4 ,and now see this man who has just entered4 ,he1 too1 is an aristocrat1 but as he turns1 we can observe that there is a one-sided twist to his face4 ,the bone formation in his face is similar to that of the woman's1 but his expression is exaggerated by a muscular habit of the mouth1 possibly occasioned by the loss of teeth4 ,his eyes are open1 but they express impassive coldness4 ,he has taken life with a sneer4 ,his brows are not arched1 although one of them is artificially raised3 the result1 undoubtedly1 of boredom4 ,habitual good-humor ages the face in a pleasant manner4 ,it is the only thing that never grows old3 do you remember what genial sparkling eyes ,joseph ,jefferson and ,mark ,twain had8 ,bearing in mind these summary character studies1 let us turn to the more practical side of make-up3 ,regarding straight make-up--i4e4 make-up which is designed to offset the glare of the lights--it can safely be asserted that most professionals make-up too heavily4 ,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 stage4 ,billie ,burke and ,blanche ,ring occur to us as having achieved happy results in making-up1 the former with a rose-bud prettiness of white and pink1 the latter by using so little color and blending that little so well that it is scarcely perceivable4 ,both these actresses use very little rouge on the upper eyelids1 an excess of which is one of the commonest faults4 ,the only purpose it can serve is to soften the upward and whitening glare of the footlights4 ,the skilful use of rouge is the most important and least understood of all the numerous elements of this art4 ,first as to shade1 most of the rouge used is blue4 ,it does not blend with most powders1 but produces a hard contrast1 and appears unnatural4 ,the placing of the rouge1 too1 is very important in obviating natural defects of proportion in the features1 which distances always intensify4 ,any spot left white is projected as if with a high-light4 ,if the nose is too wide1 it can be narrowed by shading the rouge up to its center line4 ,if it is too prominent1 it will be less apparent if shaded slightly all over4 ,the same rule applies to the chin1 the jaw1 the ears1 and the forehead4 ,some people lay in a general foundation of grease rouge before putting anything else on1 but this is likely to give a muddy effect4 ,if used only on the cheeks1 with the dry rouge over all for shading1 the effect is far more natural4 ,some also lay in a foundation of pink paste--called ,exora--but the result is nearly always pasty1 and should never be used except to cover some blotchiness4 ,the lighter the make-up1 the greater opportunity will there be for mobility of expression4 ,the same moderation should be exercised in making up the eyes and mouth4 ,brown on the lashes and eyebrows is softer than black1 especially for blondes4 ,heavy black leading above and below1 accentuated by broad shadows on the lids of dark blue1 make them look like burnt holes a short distance away4 ,few eyes are large enough to stand it1 and those that are1 do not require it4 ,a little light or dark blue close to the lashes of the upper lid is necessary1 but very few eyes need any make-up at all on the lower lid1 except a faint shadow1 perhaps1 of light blue4 ,a little dab of lip rouge in the inner corners of the eye adds an effect of brilliancy4 ,if the eye itself slants1 it can be straightened by a line of brown or black1 drawn in the opposite direction1 and beginning just inside the outer corners4 ,the line of the upper lids and the eyebrows should be extended in almost every case1 to give an effect of breadth to the eyes4 ,if the face needs lengthening and the eyebrows are not too heavy1 they can be covered with flesh-colored grease paint1 and another pair painted above them4 ,there is danger in this1 however1 of opening the frame of the eyes too much and giving them a foolish expression4 ,the arched brow tends to elongate1 the level1 broad effect to shorten1 the face4 ,the mouth also needs careful treatment4 ,as to color3 the dark red rouge so often used gives the appearance of a bloody gash4 ,the ,english hunting red1 a sort of bluish vermilion1 is best1 because most natural4 ,only the very smallest mouths can stand being made up to the corners1 because in smiling1 the mouth stretches1 and will look too large if deeply colored all the way across4 ,a line of white grease paint drawn down the bridge of the nose will straighten it2 or1 if it be too small1 lengthen it4 ,the nose may also be completely transformed by putty4 ,this brings us to what is known as the character make-up4 ,here again one is confronted by numberless problems regarding the use of colors4 ,at best1 character make-up is only the adjustment of one physiognomy to the habitual expression of another3 complete transformation is out of the question4 ,nevertheless1 the human face1 being mobile1 may assume expressions which are not habitual to it4 ,however1 it must be borne in mind that to superimpose a purely imaginary countenance over a natural one1 regardless of what that natural one is1 is a fatal mistake1 because when the natural face attempts to express itself under the other1 the effect will be lost4 ,to return a moment to the problem of color3 illusion is frequently lost through a failure to adjust the shade of the high-light and shadow to the tone of the foundation grease paint1 or natural complexion4 ,the commonest offence is the use of an unmixed1 unblended slate for shadows1 and white1 and high-lights1 whether the underlying color be florid1 sallow1 pink1 or pale flesh4 ,the result of such treatment is merely paint4 ,the whole art of making-up is still hide-bound by tradition1 because of stupid ideals which persist in the minds of those whose business it is to direct1 as well as many in the acting profession itself4 ,,index ,,index ,alcestis1 #d ,aristophanes1 #e ,art adviser1 #ag ,art of ,being ,bored1 ,the1 #dh ,quoted1 #ec1 #ed-eg ,stage grouping of1 #ed-eg ,as ,you ,like ,it1 #b ,backgrounds1 #ajf-ajg ,barker1 ,granville1 #f ,belasco1 ,david1 #hi1 #ajf ,blocking out1 #bd1 #fa ,example of1 #bd-cc ,blue ,bird1 ,the1 #ajh ,box sets1 #hb1 #hi1 #ia1 #ajj ,brignol and ,his ,daughter1 ,setting for1 #ajb1 #ajc ,business manager1 ,duties of1 #aa-ab1 #ad ,call ,boy1 ,duty of1 #af ,capus1 ,alfred1 #ajb ,cast1 ,ability of1 #b ,selection of1 #ai1 #bj ,size of1 #b ,chantecler1 #ajh ,characterization by amateurs1 #b1 #c1 #d ,cheney1 ,seldon1 #gf 7,note71 #gg ,classics1 #b1 #c1 #d ,clouds1 ,the1 #e ,coach1 ,selection of1 #bj1 #ba ,comedies1 #d ,comedy of ,errors1 ,the1 #b1 #c1 #e ,setting for1 #ic-id ,costume man1 ,duties of1 #aj1 #ad1 #ae1 #ag ,costumes1 #ad-ae ,accuracy of1 #ajh-aji ,costumes and ,scenery for ,amateurs1 #ha ,craig1 ,gordon1 #ajb ,crowds or large groups1 ,rehearsing of1 #ae1 #eh1 #ei ,curtain man1 ,duties of1 #aj ,cyclorama1 #gh-ha1 #hd1 #hh ,construction of1 #gh1 #gi-hj1 #ha ,description of1 #gh ,value of1 #gh ,de ,vega1 ,lope1 #d ,deutsches ,theater 7,berlin71 #ie ,diagram1 ,making of1 #dj-df1 #fj ,director1 ,duties of1 #h-aj1 #ad1 #af1 #ag1 #bj1 #bc1 #bd1 #bh1 #cd1 #eb1 #eh1 #ei1 #fd1 #fg1 #gc ,doctor in ,spite of ,himself1 #e ,doll's ,house1 ,a1 #b ,draperies1 #hj1 #hc1 #ib1 #ih ,electra1 #d ,electrician1 #ac ,euripides1 #d ,fan1 ,the1 #e ,far-away ,princess1 ,the1 ,setting for1 #ajj-aja ,farces1 #d ,footlights1 #hf1 #hg1 #hi ,boxed1 #hd ,fortuny lighting system1 #hf1 #hh ,furniture1 ,handling and setting of1 #ae ,goldoni1 #d1 #e ,gregory1 ,lady1 #ij ,grouping actors1 #dh1 #eh1 #ei1 #fa ,examples of1 #ej-eb1 #ec-eg1 #eh-ei1 #fc ,hamlet1 #d ,handling and setting of scenery and furniture1 #ae1 #ag ,imitation of ,professionals1 #fh1 #fi ,importance of ,being ,earnest1 ,the1 #c ,blocked out1 #bh-cd ,quoted1 #bd-bh ,indian ,summer1 ,quoted1 #ga-gb ,interpretation by amateurs1 #fi-gj ,jones1 ,henry ,arthur1 #c1 #df1 #dg1 #dh ,julius ,caesar1 ,costumes of1 #ajh ,grouping in1 #eh-ei ,klein1 ,charles1 #hi ,kotzebue1 #d ,le ,bourgeois ,gentilhomme1 #c1e ,lessing1 #d1 #e ,lessing ,theater1 ,berlin1 #ajg ,liars1 ,the1 #c1 #df1 #dg ,quoted1 #df1 #ej ,stage grouping of1 #di-eb ,lighting1 ,stage1 #gf1 #gh-gi1 #he1 #hi ,examples of1 #hi1 #ij ,fortuny system of1 #hf1 #hh ,kinds of3 ,arc1 #hh ,border1 #hf ,calcium1 #hh ,footlights1 #hd1 #hf1 #hg1 #hi ,lightman1 ,duties of1 #aj1 #ac-ad1 #ae ,lysistrata1 #e ,mac,kay1 ,constance ,d',arcy1 #hb ,magistrate1 ,the1 #d ,man and ,superman1 #d ,marrying of ,ann ,leete1 ,the1 #f ,merchant of ,venice1 ,the1 #he ,milestones1 #aji ,minna von ,barnhelm1 #e ,modern ,movement in the ,theatre1 ,the1 #gf 7,note7 ,modern plays1 #d1 #f ,moderwell1 ,hiram ,kelly1 #gf 7,note71 #gg ,quoted1 #hf-hg ,modulation1 ,example of1 #ga-gb ,moliere1 #c1 #d1 #e ,music1 #ae1 #ag ,music ,master1 ,the1 ,lighting of1 #hi ,original ,plays1 #f ,pailleron1 ,edouard1 #dh ,peer ,gynt1 ,setting for1 #ajg ,performance1 ,essentials of1 #gd #ge ,phormio1 #e ,plautus1 #e ,plays1 ,cutting1 #bc ,plays1 ,kind of1 #h-g ,classic1 #b1 #c1 #d1 #e1 #f1 #ad ,comedies1 #d ,farces1 #d ,modern1 #d1 #e ,original1 #f ,problem1 #d ,sex1 #d ,thesis1 #d ,translated1 #f ,reading of1 #bc-bd ,plotting the stage1 ,examples of1 #da-de1 #di-eb ,problem plays1 #d ,prompt-copy1 ,making of1 #cd ,prompter1 ,duty of1 #ge ,property man1 ,duties of1 #aj1 #ab1 #ac1 #ae1 #ge ,proscenium1 #ha ,alteration of1 #ha1 #hb1 #hc1 #hd1 #ajc-ajd ,diagrams of1 #hb1 #hc ,rehearsals1 #ae1 #bb1 #eh1 #ei1 #fa1 #ff1 #fg1 #fh1 #gj ,first1 #bb-bd1 #fa ,second1 #bd1 #fa1 #ff ,dress1 #gc1 #gd ,scene and light1 #gd ,reinhardt1 ,max1 #ie1 #ajf ,revolving stage1 #he ,rising of the ,moon1 ,the1 ,lighting of1 #ij ,rivals1 ,the1 #c1 #e ,romancers1 ,the1 #ae1 #ajf1 #ajh ,setting for1 #ig-ii ,rostand1 #ac1 #ig1 #ajh ,scenery1 ,handling and ,setting of1 #ae1 #ag ,scrap of ,paper1 ,a1 ,setting for1 #ajd-aje ,screens1 #hc1 #ib1 #ajb-ajc1 #ajd ,settings1 ,stage1 #gg1 #ha1 #hb1 #hc1 #he1 #hi1 #ia ,box sets1 #hb1 #hi1 #ia ,examples of1 #ic-id1 #ie-ig1 #ig-ii1 #ajj-aja1 #ajb-ajf ,sex plays1 #d ,shakespeare's plays1 ,settings for1 #ib1 #ih-id1 #id-ig1 #ig-ii1 #ajf ,stage business of1 #eb ,shaw1 ,g4 ,bernard1 #c1 #ac1 #cd1 #dg ,sheridan1 ,richard ,brinsley1 #c1 #e ,she ,stoops to ,conquer1 #e ,simpson1 ,j4 ,palgrave1 #ajd ,sophocles1 #d ,staff1 ,duties of members of1 #i-ag1 #gc-ge ,head of 7,director7 #h-aj ,organization of1 #h-af ,stage1 ,physical requirements of1 #gf ,revolving1 #he ,wagon1 #he ,stage business1 #eb1 #fa1 #fb1 #fd1 #ff1 #fi-gj1 ,examples of1 #fb1 #fc-fd1 #fe ,how to remember1 #fj ,stage directions1 #bh 7,note7 ,for ,you ,never ,can ,tell1 #ce-dj ,stage grouping1 see ,,grouping ,lighting1 see ,,lighting ,manager1 ,duties of1 #aj-aa1 #ac1 #ad1 #ae1 #af1 #bb1 #bc1 #bh1 #gd ,settings1 see ,,settings ,sudermann1 ,hermann1 #ajj ,sumurun1 ,background for1 #ajf ,terence1 #e ,theatre of ,to-day1 ,the1 #gf 7,note71 #gi ,thesis plays1 #d ,translations1 #f ,twelfth ,night1 ,settings for1 #id-ii1 #ajf ,twins1 ,the1 #e ,understudies1 #af1 #ba ,wagon ,stage1 #he ,wardrobe mistress1 see ,,costume ,,man ,warfield1 ,david1 #hi ,wilde1 ,oscar1 #c1 #bd1 #dg ,you ,never ,can ,tell1 #c1 #ac ,diagram of1 #dj-de ,quoted1 #ce-dj ,stage directions of1 #dj ,transcriber ,notes3 ,passages in italics were indicated by underscores4 ,passages in bold were indicated by equal signs4 ,small caps were replaced with ,,all ,,caps4 ,throughout the dialogues1 there were words used to mimic accents of the speakers4 ,those words were retained as-is4 ,the illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate4 ,thus the page number of the illustration might not match the page number in the ,list of ,illustrations1 and the order of illustrations may not be the same in the ,list of ,illustrations and in the book4 ,errors in punctuations and inconsistent hyphenation were not corrected unless otherwise noted4 ,on page #aae1 ,minna ,von ,barnhelm was replaced with ,minna von ,barnhelm4