planned for future possible manipulation. Every
director of school dramatics knows the delight of utilizing the same
material over and over again. Here is one instance. An interior set,
neutral in tones and with no marked characteristics of style and
period, was built to serve in Acts I and V of _A Midsummer Night's
Dream_. Hangings, furniture, costumes gave it the proper appearance.
Later it was used in _Ulysses_. It has also housed Moliere's _Doctor
in Spite of Himself_ (_Le Medecin Malgre Lui_) and _The Wealthy
Upstart_ (_Le Bourgeois Gentilhomme_), Carrion and Aza's _Zaragueeta_,
Sudermann's _The Far-Away Princess_, Houghton's _The Dear Departed_.
The wooden frames on the rear side were painted black, the canvas
panels tan, to serve in _Twelfth Night_ for the drinking scene, Act
II, scene 3. With Greek shields upon the walls it later pictured the
first scene of _The Comedy of Errors_. With colorful border designs
attached and oriental furniture it set a Chinese play.

A definite series of dimensions should be decided upon, and all
scenery should be built in relation to units of these sizes. As a
result of this, combinations otherwise impossible can be made.
Beginners should avoid putting anything permanent upon a stage. The
best stage is merely space upon which beautiful pictures may be
produced. Beware of adopting much lauded "new features" such as
cycloramas, horizonts, until you are assured you need them and can
actually use them. In most cases it is wise to consult some one with
experience.

In considering plays for presentation you will have to think of
whether your performers and your stage will permit of convincing
production. Remembering that suggestion is often better than realism,
and knowing that beautiful curtains and colored screens are more
delightful to gaze upon than cheap-looking canvas and paint, and
knowing that action and costume produce telling effects, decide what
the stage would have to do for the following scenes.

EXERCISES

1. Read scene 2 of _Comus_ by Milton. Should the entire masque be
acted out-of-doors? If presented on an indoors stage what should the
setting be? Inside the palace of Comus? How then do the Brothers get
in? How do Sabrina and her Nymphs arise? From a pool, a fountain?
Might the stage show an exterior? Would the palace be on one side? The
edge of the woods on the other? Would the banks of the river be at the
rear? Would such an arrangement make entrances, exits,