New-York tribune., 1919-11-16

| two pvots, we then proceeded to
map cut in daily conferences the
delailed scenario. l may say in
an an our plays we put most Of
exactly a the start whore we are going,
though we don't always get there in
the end. Every suggestion--wild OF
otherwise noted and saved fer
emergencies. Richard, crying for his
horse, has nothing on dramatist
when he needs a line.
After have clothed the scenario in
its first verbal garments Guy and /
see where the figure lacks form or ia
out. OF joint. Then he proceeds to re-
dialogue 1t IN more detail. This is
subject to riutual criticism and scru-
tiny, and after many healthy disputes
ana changes the play is ready for re-
hearsal.
SO you can see the play is woven
by what each has to give. When il Ia
tried out we keep up the mutual CON.
eIencfs stler the performances from
notes we have made separately. Never
once have we had a serious disagree
ment-maybe because we are so mutu-
ally grateful"
Mr. Middleton gravely pounded tho
caKen arm Of his easy chair with his
bare knuckles
knocking woodl" he said.
Channiug Pollock talked over his
shoulder bst~ecn acts OF Wedding
Bells which he obviously was enjoy
ing TO the full.
Il have had three collaborators." said
Mr.. Pollock, "and we still speak.
Indeed, three Of my warmest friends
are Avery Norwood, with whom wrots
Clothes; Edgar Selwyn, with whom /
wrote The Crowded Hour and Rem
nold Wolf, with whom wrote The
Red Widow The Beauty Shop, and
seven otner pieces. Any two people
who Rave rad child shou d be friends.
! Rem Wolf says collaboration is ss
trying relationship as matrlmony.
should say, more trying. Imagine
marriage in which the two parents
we're equally occupied in bringing up
the chiid! Imagine marriage in
which the only th.ng ever discussed-
eight or ten hours a day-wss, or
seemed to be, the most important thing
n ll1e-a thing strangely part of ones
self and Intimately connected with
ones vanity Aad yet have never had
mIsundersra nling or an angry word
with collaboration! know
1t sounds axe The most conventional Of
matrimonial IA schools, but It is true.
All creative work Is collaboration.
Carlyle col.aborated with MS cook
when lie read her his manuscripts. II
she never uttered word, still she col
iaborated The value Of collaboration
IS nor only what u brings ont II an
other, but what 1t brings out of you.
Ii you write for a living, your wife
CO. laoorates With yoa; 80 does the ele-
Vator boy ard the chance acqua intarce
at the club. You speak TO Jones Of
! 'platoaic friendship' Well, says
Jones, my only woman friend is my
wife You come home and write:
P.atoric friendship IS thing only
! possible between husband and WIFE
Jones Is your partner in every respect
except financially.
Literary collaboration is just that
sort Of thing. done habitually. done
/ VITA some one attuned to your way of
thinking, sympathetic almost o tho
, point Of telepathy Collaboration is in
spnation and editing a goad and
check rein, after thought brought into
the present. When TWO people. each
capable OF writing a play, combine
forces they produce a play ani half.
Unfortunately, they are paid only for
one play. That is nay serious, selfish.
mercenary objection to collaboration
the thing that has pretty well cured me
OF the habit. OF its advantages, other
wise, there can be no possible doubt.
! ne whole proposition is summed up
n the old conundrum. What makes
more noise than pig under 8 gate?'
1.-TWO pigs.