The Theory of the Theatre

Book Excerpt: portant; and from a full scenario alone, before a line of dialogue is written, it is possible in most cases todetermine whether a prospective play is inherently good or bad. Mostcontemporary dramatists, therefore, postpone the actual writing of theirdialogue until they have worked out their scenario in minute detail. Theybegin by separating and grouping their narrative materials into not morethan three or four distinct pigeon-holes of time and place, --therebydividing their story roughly into acts. They then plan a stage-setting foreach act, employing whatever accessories may be necessary for the action.If papers are to be burned, they introduce a fireplace; if somebody is tothrow a pistol through a window, they set the window in a convenient andemphatic place; they determine how many chairs and tables and settees aredemanded for the narrative; if a piano or a bed is needed, they place ithere or there upon the floor-plan of their stage, according to theprominence they wish to give it; and when allRead Mo