In the first place, no playwright who understands the
evolution of the modern theatre can nowadays use in his stage-directions
the abhorrent jargon of the early nineteenth century. When one comes
across a manuscript bespattered with such cabalistic signs as "R.2.E.,"
"R.C.," "L.C.," "L.U.E.," and so forth, one sees at a glance that the
writer has neither studied dramatic literature nor thought out for
himself the conditions of the modern theatre, but has found his dramatic
education between the buff covers of _French's Acting Edition_. Some
beginners imagine that a plentiful use of such abbreviations will be
taken as a proof of their familiarity with the stage; whereas, in fact,
it only shows their unfamiliarity with theatrical history. They might as
well set forth to describe a modern battleship in the nautical
terminology of Captain Marryat. "Right First Entrance," "Left Upper
Entrance," and so forth, are terms belonging to the period when there
were no "box" rooms or "set" exteriors on the stage, when the sides of
each scene were composed of "wings" shoved on in grooves, and entrances
could be made between each pair of wings.
Pages:
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102