Excerpt from Play Production in America Upon the title-page I have placed a quotation from John Philip Sousa's speech on subsidy, published some years ago in the Paris Herald. This is to remind a reading public, that has lately been presented with a number of excellent works dealing almost exclusively with the theaters of Eu rope, that American playhouses also have made decided advance, although, perhaps, along different lines. But while this book is essentially American, it is presented, in this connection, mainly to remark America's contribution to international development. I cannot reiterate too often that there cannot be a protective tariff placed around art. Any thing worth while that this country is doing in the theater belongs to the world. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Play Producing for School and Little Theatre Stages In the fall of 1918 when the formation of The Carolina Playmakers was planned at Chapel Hill, the Bureau of Community Drama was organized in the Extension Division of the University to encourage the producing of plays in the schools and towns of North Carolina. More than this, it has been our hope from the first to create an active interest in the writing of original folk-plays drawn from the native folk life. From these simple beginnings a remarkable renaissance in the drama has come. Today there is acting and playwriting everywhere in our Carolina country, in high schools, colleges, and little theatres from the Great Smoky Mountains to the sea. The formation of our state-wide Carolina Dramatic Association, twelve years ago, made secure the foundations of a real people's theatre in North Carolina. The rising tide of dramatic endeavor was unchecked by the hazards of the devastating financial crisis. The Twelfth Annual Festival and State Tournament of the Association, held in The Playmakers Theatre at Chapel Hill in March, was a thrilling adventure for all of us. The Festival was truly a dramatic revival. Three hundred and fourteen (314) players and directors presented thirty-one (31) plays (eleven of them original). Many of them brought their own scenery and properties. Some of them traveled hundreds of miles. And more than 3500 people attended the Festival. Through the generosity of one of the Foundations last year we were able to make available to the state the services of an Extension Instructor in Dramatic Arts, Mr. John W. Parker, Playmaker alum nus. The whole state became his campus. During the year he drove more than thirty thousand miles in assisting teachers in developing dramatics in the schools and in training directors for towns and country communities all over North Carolina. During the year he conducted five classes in Play Production, with a total enrollment of one hundred and fifty (150) students (mostly teachers), representing over sixty (60) towns and communities. The students received regu lar University credits, applicable toward a degree or toward renewing or raising teaching certificates. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from One Act Plays The one-act play is a new form of the drama and more emphatically a new form of literature. Its possibilities began to attract the attention of European and American writers in the last decade of the nineteenth century, those years when so many dramatic traditions lapsed and so many precedents were established. It is significant that the Oldest play in the present collection is Maeterlinck's The Intruder, published in 1890. The history of this new form is of necessity brief. Before its vogue became general, one-act plays were being presented 'in vaudeville houses in this country and were being used as curtain raisers in London theatres for the purpose of marking time until the late-dining audiences should arrive. With the exception of the famous Grand Guignol Theatre in Paris, where the entertainment for an evening might consist of sev eral one-act plays, all of the hair-raising, blood-curdling variety, programs composed entirely of one-act plays were rare. Sir James Matthew Barrie is usually credited with being the first in England to write one-act plays intended to be grouped in a single production. A program of this character has been un common in the commercial theatre in America, but three of Barrie's one-act plays, constituting a single program, have met with enthusiastic response from American audiences. There are two new developments in the history of the theatre that have encouraged and promoted the writing of one act plays: the one is the Repertory Theatre abroad and the other is the Little Theatre movement on both sides of the At lantic. The repertory of the Irish Players, for example, is composed largely of one-act plays, and American Little Theatres are given over almost exclusively to the one-act play. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Correspondence of Henrik Ibsen ON the 3lst of May 1880, Henrik Ibsen wrote to his publisher, Frederik Hegel, that he had begun a little book in which he intended to give some account of the outward and inward conditions under which each one of his works had come into being (letter It was to be called From Simian, to Rome, and was to give descriptions of his life at Skien and Grimstad, Bergen and Christiania, Dresden, Munich, and Rome. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Wilderness: An American Play About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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This classic reprint was originally produced by Arthur M. Plato, being one of his, Dime Pocket Publications. It was created during the time of the Pan-American Exposition, the World's Fair held in Buffalo, New York. It's an excellent encyclopedic piece of Americana, and was packed with curious information on several subjects, for many of the theatre goers who were filling time, awaiting the start of the play.