Act III, Sc. 3,

Act II, Sc. 1, .

Phædra, Act I, .

Pierre Patelin, .

Playboy of the Western World, The, .

Play-Making, , , , , , , , , .

Princess and the Butterfly, The, Act II, .

Profligate, The, .

Provoked Wife, The, Act IV, . Act III, .

Quem Quaeritis, trope, .

Rehearsal, The, , .

Revesby Sword Play, .

Richard II, , .

Richard III, Act I, Sc. 1, .

Riddle’s (George) Readings, .

Ring and the Book, The, .

Rising of the Moon, The, .

Robert Louis Stevenson: The Dramatist, , , .

Romancers, The, Act I, Sc. 1, , .

Romeo and Juliet, Act I, Sc. 1, .

Rosmersholm, Ibsen’s Prose Dramas, .

Rosmersholm, Ibsen’s Workshop, .

Sardou and the Sardou Plays, , .

Selected Dramas of John Dryden, .

Servant in the House, The, .

Sire de Maletroit’s Door, The, Scenario, , , .

Some Platitudes Concerning Drama, , , .

Soul’s Tragedy, A, .

Spanish Friar, The, Act III, Sc. 1, .

Spanish Tragedy, The, .

Squire of Alsatia, The, .

Stage in America, The, , .

Still Waters Run Deep, .

Storm, The, .

Strife, .

Tartuffe, Act I, .

Theatrical World for 1893, The, .

Trail of the Torch, The, .

Treasure, The, .

Troilus and Cressida, .

Trope, Quem Quaeritis, .

Troublesome Raigne of King Iohn. The, Part I, .

Truth, The, .

Twelfth Night, Act I, Sc. 5, .

Two Gentlemen of Verona, The, .

Two Hearts, .

Two Loves and a Life, Act II, Sc. 2, .

United States of Playwrights, The, iii, .

Vittoria Corombona, Act III, Sc. 2, .

Way of the World, The, .

Winning of General Jane, The, Scenario, .

You Never Can Tell, Act IV, .

INDEX OF SUBJECTS

Act, length of each, -.

Acts, number and length, -.

Action, -.

defined, -.

by physical action, -.

by revealing mental states, -.

Alternative endings, -.

Artistic unity, -.

Aside, in dialogue, -.

Barbara Frietchie—

story of, -.

plot of, -.

Business, stage, definition of, -.

Central idea—

importance in play, -.

shifting it, .

Central purpose, value of in selecting material, -.

Changing tastes in public, .

Character drawing and psychology distinguished, .

Characters—

prompt identification of, -.

devices for showing relations among, -.

unnecessary, -.

test for number of, .

Characterization—

by type, -.

by intimate knowledge of characters, -.

in historical plays, .

good but not needed, .

by motivation, -.

bad methods, -.

in programs, -.

in stage directions, .

by soliloquy, -.

by description, -.

by illustrative action, -.

good methods, -.

by exits and entrances, -.

three illustrations of good, -.

Climax—

definition of, .

anticlimax, illustrated, -.

and movement, -.

and surprise, -.

by quiet endings, -, -.

by irony, -.

anticipating, .

selection for, .

postponing, for, .

essentials of, .

Contrast, for emphasis, -.

Critical and creative faculties, relation of, .

Delayed exposition and movement, .

Detail, contrasted in novel and play, -.

Dialect, use of, -.

Dialogue—

essentials of clearness, .

selection in, -.

clearness without characterization not sufficient, -.

in character, -, -.

emotion in, -.

well characterized, -.

secret of good, (Emerson), .

unassigned and assigned, -.

author speaking through persons, .

style, -, -.

style and emotion, , -.

sympathetic, -.

fitted for stage, .

actors aided by voice, gesture in etc., -, -.

unnecessary detail, -.

facial expression and gesture, -.

dialogue and “stage business,” 372-.

pantomime, -.

soliloquy, -.

aside, -.

incomplete, -.

block dialogue, -.

difficult to speak, -.

essentials of, -.

Differences, fundamental between novel and play, -.

Disregarding public, danger of, .

Dramatic—

definition of, -.

distinguished from theatric, .

Dramatic technique, usual growth of, .

Dramatist—

writing to himself, .

and motivation, .

correct attitude toward public, .

Dramatization of a novel, suggestions for, Edward Knobloch, -.

Emotion—

essential in drama, -.

emotion and style, , -.

Emphasis—

in plot, -.

defined, -.

lack of, -.

good, -.

importance of in beginnings and endings, -.

by contrast, -.

to determine dramatic form, -.

on what, -.

Epilogue, -.

Essentials—

chief, in drama, -.

of motivation, .

in good scenario, -.

Exits and entrances, for characterization, -.

Exposition—

preliminary, -, -.

devices in, -.

distinction between preliminary and later, -.

emphasis in, .

Facial expression, importance of, -.

Fact vs. fiction in drama, -.

Falsification of life by drama, -.

Gesture, importance of, -.

Holding a situation, -.

Identifying promptly persons of play, -.

Illustrative action, -, .

relation of, to dramatic selection, -.

Importance of facial expression, gesture and voice, -.

Inaction, utter, possibly dramatic, .

Knowledge of theatre necessary, -.

Melodrama and tragedy, -.

Monologue, -.

Motivation, -.

and literary convention, -.

and public taste, -.

essentials of, .

obtrusive, .

Movement—

and suspense, -.

in plot, -.

qualities of, .

where needed, .

in interwoven plots, .

and transitional scenes, -.

and delayed exposition, .

and explanatory last act, .

and climax, -

Novelist, technique of vs. dramatic technique, -.

Novelty of subject, -.

Number of characters, test for, .

Number of possible dramatic subjects, -.

Obtrusive motivation, .

Order and suspense, -.

Pantomime, -, -.

Physical action, -.

Place, unity of, -.

Plausibility, -.

Plot contrasted with story, -.

Program characterization, -.

Prologue, use of, -.

Psychology and character drawing distinguished, .

Public, changing tastes in, .

Scene, definition of, -.

Scenario—

importance of, -.

value of, -.

summary vs. scenario, -.

real character of, -.

essentials of good, -.

dramatis personæ in, -.

settings in, -.

preliminary exposition in, -.

talky, -.

entrances and exits in, -.

cardinal principle of, .

emphasis in, -.

flexibility in, -.

proper length, .

no one form, -.

using dialogue in, -.

Settings, -.

value of in placing a play, -.

in scenario, -.

Situation, holding a, -.

Soliloquy, -.

Stage direction—

bad, -.

good, .

Stage waits, -.

Starting a play, -.

Story—

as starting point, -.

essential in play, -.

misuse of word, -.

contrasted with plot, -.

unity of action in, .

amount required, -.

Style, in dialogue, -.

Summary vs. scenario, -.

Surprise, -.

and suspense, distinction, .

Suspense—

and order, -.

vs. surprise, .

and surprise, distinction, .

and sympathy, -.

in climax, -.

Technique in Drama—

definition of, .

three kinds of, -.

Technique of novelist and dramatist compared, -.

Theatric, distinguished from dramatic, .

Time—

unity of, -.

treatment of on stage, -.

off stage, .

antecedent to play, -.

by chorus, .

by soliloquy, .

by prologue, -.

Transitional Scenes, -.

Truckling to an audience, definition, .

Unassigned speeches, -.

Unity of action, -.

Unity, artistic, -.

Unnecessary characters, -.