[1] See, however, Clayton Hamilton, Studies in Stagecraft, New York, 1914, and B. Roland Lewis, The Technique of the One-Act Play, Boston, 1918.[2] Clayton Hamilton, Studies in Stagecraft, New York, 1914, pp. 254-255.[3] The Elizabethan platform stage survived until then in the shape of the long "apron," projecting in front of the proscenium. The characters were constantly stepping out of the frame of the picture; and while this visual convention maintained itself, there was nothing inconsistent or jarring in the auditory convention of the soliloquy. See William Archer, Play-Making, Boston, 1912, pp. 397-405.[4] Clayton Hamilton, The Non-Commercial Drama. The Bookman, May, 1915.[5] Percy MacKaye, The Playhouse and the Play, New York, 1909, p. 86.[6] Quoted by Percy MacKaye in The Civic Theatre, New York, 1912, p. 114.[7] P. P. Howe, The Repertory Theatre, New York, 1911, p. 59.[8] A. E. F. Horniman, The Manchester Players, Poet Lore, Vol. XXV, No. 3, p. 212; p. 213.[9] The kind of co-operation to which he looked forward is beginning. For instance, the New York Drama League announces a Little Theatre membership. "Its purpose is to serve the needs of the large and constantly growing public that is interested in the activities of the semi-professional and amateur community groups who read or produce plays. Under this new Membership there will be issued monthly, for ten issues a Play List of five pages, giving a concise but complete synopsis of new plays, both one-act and longer plays. It will show the number of characters required; the kind of audience to which the play would be likely to appeal; the royalty asked for production rights; the production necessities and other information of value to production groups or individuals. One page will be devoted to three or four standard older plays treated with the same detail of information. The Little Theatre Supplement ... will continue to be issued each month, but will hereafter be a feature of the Little Theatre Membership only. It will contain the programs of the Little Theatres throughout the country; short accounts of what is going on among the various groups, and articles on Little Theatre problems, with hints on new, effective and economical methods of production."[10] Lady Gregory, Our Irish Theatre, New York, 1913, p. 101.[11] Robert Edmond Jones, The Future Decorative Art of the Theatre, Theatre Magazine, Vol. XXV, May, 1917, p. 266.[12] Robert Edmond Jones himself has suggested the phrasing of these descriptions.[13] See p. xxxiii.[14] Sheldon Cheney, The Art Theatre, New York, 1917, pp. 167-168.[15] For a description of modern lighting equipment for a Little Theatre compare the section on the Theatre in the School in this introduction.[16] Clayton Hamilton, Seen on the Stage, New York, 1920, p. 239.[17] Robert Emmons Rogers, President of the Boston Drama League and Assistant Professor, specializing in modern literature and drama in the Massachusetts Institute of Technology, was born in Haddonfield, New Jersey, in 1888. He writes that his Anne Hathaway "was a particularly wild idealization based on Miss Adams as Peter Pan," and that even at eighteen he knew that his portrait of the girl, who was to be Shakespeare's wife, was not historically correct. Permission to perform the play must be secured from the author.[18] George Pierce Baker, Dramatic Technique, Boston and New York, 1919, p. 47.[19] B. Roland Lewis, The Technique of the One-Act Play, Boston, 1918, p. 211.[20] Further interesting information on the reading and the study of modern plays in the schools may be found in the valuable article by F. G. Thompkins of the Central High School, Detroit, called The Play Course in High School, in The English Journal for November, 1920, and in the same issue, in the list of plays produced by St. Louis High Schools, prepared by Clarence Stratton, Chairman, National Council Committee on Plays.[21] There is a comprehensive list of books published by the Public Library of New York that is an indispensable guide to amateurs interested in Little Theatres and play production and in matters connected with lighting, scenery, costumes, and theatre building; it is W. B. Gamble, The Development of Scenic Art and Stage Machinery, New York, 1920. Cf. also the articles of Irving Pichel that have appeared from time to time in The Theatre Arts Magazine. The three following books are especially valuable for school theatres: Barrett H. Clark, How to Produce Amateur Plays, Boston, 1917; Constance D'Arcy Mackay, Costumes and Scenery for Amateurs. A Practical Working Handbook, New York, 1915 (the illustrations are especially valuable); and Evelyn Hilliard, Theodora McCormick, Kate Oglebay, Amateur and Educational Dramatics, New York, 1917.[22] For the explanation of this and kindred technical terms, see Arthur Edwin Krows, Play Production in America, New York, 1916.
Cf. Maurice Browne, The Temple of a Living Art. The Drama, Chicago, 1913, No. 12, p. 168: "Nor is this just a question of stage jargon; that man or woman who would establish an Art Theatre that is an Art Theatre and not a pet rabbit fed by hand, must be able to design it, to ventilate it, to decorate it, to equip its stage, to light it (and to handle its lighting himself, or his electricians will not listen to him), to plan his costumes and scenery, aye, and at a shift, to make them with his own hand."[23] Copyright, 1912, by Harper and Brothers. Copyright in Great Britain. All acting rights both amateur and professional reserved by the author.[24] For a bibliography of his works through the year 1913, see Asa Don Dickinson, Booth Tarkington, a Gentleman from Indiana, Garden City, no date.[25] Robert Cortes Holliday, Booth Tarkington, Garden City and New York, 1918, pp. 155-156; p. 157.[26] Yeats has commemorated this club in the following lines in his poem, The Grey Rock:
"Poets with whom I learned my trade,
Companions of the Cheshire Cheese."[27] Constance D'Arcy Mackay, The Little Theatre in the United States, New York, 1917, p. 97.[28] Copyright, Feb. 1, 1913, in the United States by Oliphant Down. Reprinted by special arrangement with Gowans & Gray, Ltd., Glasgow.
Professionals and amateurs are hereby warned that this play is fully copyrighted under the existing laws of the United States, and no one is allowed to produce this play without first having obtained permission of Samuel French, 28 West 38 Street, New York.[29] Maurice Sand, The History of the Harlequinade, London, 1915, Vol. I, p. 219.[30] Mon Ami Pierrot. Songs and Fantasies, compiled by Kendall Banning, Chicago, 1917. This book presents the Pierrot of modern poetry and drama.[31] Copyright, 1912, 1921, by Percy MacKaye. All rights reserved.
SPECIAL NOTICE
This play in its printed form is designed for the reading public only. All dramatic rights in it are fully protected by copyright, in the United States, Great Britain, and all countries subscribing to the Berne Convention. NO PUBLIC OR PRIVATE PERFORMANCE—PROFESSIONAL OR AMATEUR—MAY BE GIVEN WITHOUT THE WRITTEN PERMISSION OF THE AUTHOR AND THE PAYMENT OF ROYALTY. As the courts have also ruled that the PUBLIC READING of a play, for pay or where tickets are sold, constitutes a "PERFORMANCE," no such reading may be given except under conditions above stated.
Anyone disregarding the author's rights renders himself liable to prosecution. PERSONS WHO DESIRE PERMISSION TO GIVE PERFORMANCES OR PUBLIC READINGS OF THIS PLAY SHOULD COMMUNICATE DIRECT WITH THE AUTHOR, AT HIS ADDRESS, HARVARD CLUB, 27 WEST 44 STREET, NEW YORK CITY.[32] A list of his works is given in the latest Who's Who in America.[33] A suggestion for the appropriate arrangement of these mounds may be found in the map of the battle-field annexed to the volume by Capt. R. K. Beecham, entitled Gettysburg, A. C. McClurg, 1911.[34] Professionals and amateurs are hereby warned that this play is fully copyrighted under the existing laws of the United States, and no one is allowed to produce this play without first having obtained permission of Samuel French, 28 West 28 Street, New York.[35] Copyright, 1918, by Gowans and Gray. All rights reserved. Reprinted by permission of and by special arrangement with Harold Brighouse. Also printed in the United States by Leroy Phillips, Boston. Maid of France is fully protected by copyright. It must not be performed by either amateurs or professionals, without written permission. For such permission apply to Samuel French, 28-30 West 38 Street, New York City.[36] Harold Brighouse, Three Lancashire Plays, London and New York, 1920. There is a bibliographical note at the end.[37] Copyright, in United States, 1909, by Augusta Gregory. Reprinted by permission of G. P. Putnam's Sons, New York and London.
This play has been copyrighted and published simultaneously in the United States and Great Britain.
All rights reserved, including that of translation into foreign languages.
All acting rights, both professional and amateur, are reserved in the United States, Great Britain, and all countries of the Copyright Union, by the author. Performances forbidden and right of presentation reserved.
Application for the right of performing this play or reading it in public should be made to Samuel French, 28 West 38 St., New York City.[38] Copyright, 1912, 1916, 1917, by Jeannette Marks. The professional and amateur stage rights of this play are strictly reserved by the author. Application for permission to produce the play should be made to the author, who may be addressed in care of the publishers, Little, Brown and Company, Boston. All rights reserved.[39] PRONUNCIATION OF WELSH NAMES
- 1 ch has, roughly, the same sound as in German or in the Scotch loch.
- 2 dd = English th, roughly, in breathe.
- 3 e has, roughly, the sound of ai in dairy.
- 4 f = English v.
- 5 ff = English sharp f.
- 6 ll represents a sound intermediate between the and fl.
- 7 w as a consonant is pronounced as in English; as a vowel = oo.
- 8 y is sometimes like u in but, but sometimes like ee in green.
Note: The author will gladly answer questions about pronunciation, costuming, etc., etc.[40] The a's are broad throughout, i. e., Kats is pronounced Kaats; Vavasour is Vavasoor: ou is oo.[41] Copyright, 1916, by L. E. Bassett. Reprinted by special arrangement with John W. Luce & Company, Boston. Acting rights in the hands of Samuel French, 28 West 38 Street, New York.[42] For a list of Synge's other plays, see E. A. Boyd, The Contemporary Drama of Ireland, Boston, 1917.[43] B. N. Hedderman, Glimpses of My Life in Aran, Bristol, 1917.[44] J. B. Yeats, Life in the West of Ireland, Dublin and London, 1912. The color prints and line drawings in this book are very beautiful. Cf. also J. M. Synge, The Aran Islands. With drawings by Jack B. Yeats, Dublin and London, 1907.][45] Copyright, 1916, by The Sunwise Turn, Inc. All rights reserved. The professional and amateur stage rights on this play are strictly reserved by the author. Applications for permission to produce the Play should be made to The Neighborhood Playhouse, 466 Grand Street, New York.
Any infringement of the author's rights will be punished by the penalties imposed under the United States Revised Statutes, Title 60, Chapter 3.[46] For bibliography see E. A. Boyd, The Contemporary Drama of Ireland, Boston, 1917.[47] Clayton Hamilton, Seen on the Stage, New York, 1920, p. 238; p. 239.[48] Copyright, 1921, by Stark Young. Acting rights, amateur and professional, must be secured from the author, care of the New York Drama League, 7 East 42 Street, New York.[49] Maurice F. Egan, Everybody's St. Francis, with pictures by M. Boutet de Monvel, New York, 1912.[50] Reprinted by special arrangement with Gowans & Gray. Ltd., Glasgow. The acting rights are reserved.[51] I am indebted to Miss Italia Conti for the original scenario of the Masque, and to former Editors of Vanity Fair and The Crown for permission to reprint the two songs which were published in their journals.—Alix Egerton.[52] For bibliography, see Jethro Bithell, Life and Writings of Maurice Maeterlinck, London and New York, 1913.[53] Copyright, 1917, by Josephine Preston Peabody. This play is fully protected under the Copyright law of the United States and is subject to royalty when produced by amateurs or professionals. Applications for the right to produce Fortune and Men's Eyes should be made to Samuel French, 28 West 38 Street, New York. All rights reserved.[54] From The Little Man and Other Satires; copyright, 1915, by Charles Scribner's Sons. By permission of the publishers. Acting rights, professional and amateur, reserved to the author in care of the publisher.[55] For a short bibliography, see Sheila Kaye-Smith, John Galsworthy, London, 1916.[56] AUTHOR'S NOTE
Since it is just possible that someone may think The Little Man has a deep, dark reference to the war, it may be as well to state that this whimsey was written in October, 1913.
