The times. [volume] (Richmond, Va.) 1890-1903, 1899-11-23
HOW DRAMATISTS WORK.
The Long and DIFFICULT job of Making
u Good aud Popular Play.


How do dramatists write pays2 In
almost as many ways as there are drama
lists. In one respect, however, their
methods hardly ever differ. They first
make an outline Of the pot, characters
and episodes. That is called q scenario.
Sometimes st includes the salient points
only. Sometimes il goes into minute
details Anyway, IL shapes and forms
his entire play. BY this time be has
studied the possibilities of his theme ana
decided what his characters shall do. lie
has learned by experience that his work
is more difficult than that OF the novel
list. He must not describe things, lut
present them. lie may resort 30 MARIA
live only al the risk of losing the attcn-
ton OF an audience. A play IF words and
not of deeds Is like the pr0yerhiol gar
den fun of weeds" The personages will
not amount to much II they merely talk.
They must show their traits, motives ana
intentions in action. The soliloquy u.s..
therefore not in favor with the modern
PLAYWRIGHT These conditions Impose long
and hard labor upon even the genil as
among writer's for the stage. More Time
and thought are often spent on a scenario
than in writing out the play. IL may be
said that a urama of the first-cllss is a
good years task.
The playwright must keep his charac-
ters plainly before MIN all the while. II
is essential that he shall know where they
are whether active or idle. Whenever
they stir il should mean something. An
indefinite movement may spoil the effect
which he intends g. make. The audience
sees quite as much as lt hears one of
our well-known authors sets small pup
and
them about. In no other way can he
keep the situation clearly ia mind while
devlslns and developing them. Another
man of equal renown needs no such signs
or tokens. The scene in every detail is
vivid 70 him without any alds Others
mako notes on diagrams. Stll others use
whatever small things happen 10 he at
hand An old jacknlfe and p.ir Of
scissors were the hero and heroine Of "a
certain famous drama during all the time
tllt IL was being written. one expert n
stapcCraft who happens 20 DE also a de-
voice of chess works ont the action on
"a chess-board. He fancies that Doe is
helped ia that way 20 solve the problems
of hl. plot. He opposes his forces OF good
and evil. plays them against each other,
and wins final victories for the right.
Nonsense? Not if it facilitates his work.
His fancy requires excitement.
At the other extreme may Doe mention
cd "a man who never has TO make so much
as a dot on paper 10 assist his memory
as TO the action. He has his troubles OF
another kind. lie is compelled TO guard
himself against confusion and inconsistent
cics I'm the various interests of the play
Am hand. lie makes diagrams OF them,
showing their starts and stops rises anu
falls. contacts and separations. Ihls ne
secs their proportions ana builds them
ID or pulls them down % suit their reia-
t,e Importance. This diagram become
an elaborate chart as work prosfe-se :.
II =. clear 10 him, If to nobody else. ll
guides him I'm keeping his principal chaf-
ocrers dominant and his minor ones SUBJ
ord.ratr By means Of it he moves
e,etvfbinq toward that climax which
e,.4,v successful drama must reach.
What the actors do, besides speaking
tbe words of q play. is called the "Dusl-
moss " The old-fashioned way was 20 in-
sort that word i'm the copy at points
where speciaI action was required Inc
particulars were given at the rehelrsals
Nowadays the author is more explicit III
his manuscript He prescribes the move
nenfs that each character shall make
Nothing Is left 10 chance. nor 10 th,
9ctor's choice. When he is TO sic and
when 10 stand. where he IS 20 go and how
Ions. to- stay. what feeling he is 10 show
when silent. what degree OF emotion h6
is To express when speaking-dA the-'
directions are set down. Some authors
tell also how the parsonage should look
4 paragraph describes each indlVidua
| much as a novelist does IT, though very
briefly and concisely. This is frequently
| ,N,tendad 10 the color of "a WOmdu's eyes
and hair. She must be tail or snort sim
| or stout. pretty or ugly as oes. serves
The purpose. In short. the writer Of stag'
| action tries hard to have his character
| look and behave exactly as he wishe.
| them TO- His design may be carried out
| That depends llc may We eminent anC
obdurate enough to have his own way
I'm that case his contracts stimulate tina
not so much rs word shah De chanE. "a
without his consent "hc manner Of th'
acting. also. must be obedient to his or
doris lie also may be able TO dictate I'M
| time when the play shall be presented
| and the theatre. too The selection %
actors may require his approval and hi!
! authority may extend 70 rehearsals. PM
&c a rule. IL IS not so. Sometinles I'M
buvor Of the manuscript Is free 10 do jos
| as he ploases with ~. lie has the Tign
| TO- adapt II 10 any purpose Hnd 10 an,
extent Plays written quite SERIOUSLY
| have before now been turned into hiari
| GUS sarces merely by eXagcerating them
| The longest lived OF the eriyolouSly gar
] spectacular pieces in this 'ountry th'
| very name Of which became trademark
| for gaudy show. was 'rigi laily an am
| bitlous composition in blank verse;
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