Play-Making - A Manual of Craftsmanship by William Archer
page 52 of 319 (16%)
page 52 of 319 (16%)
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but completely in it. This being so, the playwright must evidently, at
some point in the working out of his theme, visualize the stage-picture in considerable detail; and we find that almost all modern dramatists do, as a matter of fact, pay great attention to what may be called the topography of their scenes, and the shifting "positions" of their characters. The question is: at what stage of the process of composition ought this visualization to occur? Here, again, it would be absurd to lay down a general rule; but I am inclined to think, both theoretically and from what can be gathered of the practice of the best dramatists, that it is wisest to reserve it for a comparatively late stage. A playwright of my acquaintance, and a very remarkable playwright too, used to scribble the first drafts of his play in little notebooks, which he produced from his pocket whenever he had a moment to spare--often on the top of an omnibus. Only when the first draft was complete did he proceed to set the scenes, as it were, and map out the stage-management. On the other hand, one has heard of playwrights whose first step in setting to work upon a particular act was to construct a complete model of the scene, and people it with manikins to represent the characters. As a general practice, this is scarcely to be commended. It is wiser, one fancies, to have the matter of the scene pretty fully roughed-out before details of furniture, properties, and position are arranged.[14] It may happen, indeed, that some natural phenomenon, some property or piece of furniture, is the very pivot of the scene; in which case it must, of course, be posited from the first. From the very moment of his conceiving the fourth act of _Le Tartufe_, Molière must have had clearly in view the table under which Orgon hides; and Sheridan cannot have got very far with the Screen Scene before he had mentally placed the screen. But even where a great deal turns on some individual object, the detailed arrangements of the scene may in most cases be taken for granted until a late stage in its working out. |
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