Writing for Vaudeville eBook

This eBook from the Gutenberg Project consists of approximately 421 pages of information about Writing for Vaudeville.
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Start of eBook1
Title:  Writing for Vaudeville1
WRITING FOR VAUDEVILLE1
BY BRETT PAGE1
DRAMATIC EDITOR, NEWSPAPER FEATURE SERVICE, NEW YORK1
FOREWORD1
INTRODUCTION2
J. BERG ESENWEIN2
CHAPTER I2
CHAPTER II9
CHAPTER III15
I. THE PHYSICAL PROPORTIONS OF THE VAUDEVILLE STAGE15
II.  THE WORKING DEPARTMENTS OF THE VAUDEVILLE STAGE16
STAGE-DIAGRAM OF THE PALACE THEATRE, NEW YORK17
III.  THE SCENERY OF THE VAUDEVILLE STAGE18
CHAPTER IV22
INTRODUCTION TO DIAGRAMS24
WHAT THE DIAGRAMS INCLUDE25
DIAGRAM I.—­FANCY INTERIOR No. 125
DIAGRAM II.—­FANCY INTERIOR No. 225
DIAGRAM III.—­FANCY INTERIOR No. 325
DIAGRAM IV.—­FANCY INTERIOR No. 425
DIAGRAM V.—­FANCY INTERIOR No. 525
DIAGRAM VI.—­KITCHEN SET No. 126
DIAGRAM VII.—­KITCHEN SET No. 226
DIAGRAM VIII.—­WOOD OR GARDEN SET26
CHAPTER V29
II.  WHAT A MONOLOGUE IS32
III.  THE MONOLOGUE’S NOTABLE CHARACTERISTICS32
CHAPTER VI36
I. CHOOSING A THEME36
II.  A FEW THEMES OF UNIVERSAL INTEREST37
III.  HOW TO BEGIN TO WRITE37
IV.  BUILDING A MONOLOGUE BEFORE AN AUDIENCE41
V. OTHER SINGLE TALKING ACT FORMS42
VI.  A FINAL WORD42
CHAPTER VII43
CHAPTER VIII50
I. THE INDIVIDUAL TWIST OF THE TWO-ACT51
II.  THINKING OUT THE TWO-ACT52
III.  TWO-ACT CHARACTERS55
IV.  THE TWO CHARACTER PARTS55
CHAPTER IX56
I. WHERE TO BEGIN57
II.  THE DEVELOPMENT57
III.  HOW AND WHERE TO END60
IV.  MAKING THE MANUSCRIPT A STAGE SUCCESS61
V. OTHER TWO-ACT FORMS62
CHAPTER X63
I. NEAR-DRAMATIC FORMS WHICH PRECEDED THE VAUDEVILLE PLAYLET63
II.  DRAMATIC FORMS FROM WHICH THE PLAYLET EVOLVED65
III.  HOW THE VAUDEVILLE SKETCH AND THE PLAYLET DIFFER70
IV.  WHAT A PLAYLET IS71
CHAPTER XI72
CHAPTER XII76
I. THE THEME-PROBLEM AND ITS RANGE76
II.  WHERE PLAYLET WRITERS GET THEIR IDEAS78
III.  A SUPPOSITITIOUS EXAMPLE OF GERM-DEVELOPMENT80
IV.  HOW A PLAYLET WRITER RECOGNIZES A PLAYLET IDEA82
V. HOW MUCH OF THE PLAYLET IS ACHIEVED WITH THE IDEA83
CHAPTER XIII83
CHAPTER XIV95
II.  THE VITAL PARTS OF THE PLOT97
III.  THE THREE DRAMATIC UNITIES105
CHAPTER XV109
I. CHARACTERS VERSUS PLOT109
II.  THE PERSONS OF THE PLAYLET110
III.  FITTING CHARACTERS TO PLOT112
IV.  CHARACTERIZATION113
CHAPTER XVI115
CHAPTER XVII122
CHAPTER XVIII129
I. WHEN TO BEGIN130
II.  POINTS TO BRING OUT PROMINENTLY131
III.  PUTTING PUNCH INTO THE IDEA133
IV.  SELECTING A PROPER TITLE136
V. MAKING THE PLAYLET A HIT137
CHAPTER XIX138
CHAPTER XX143
HINTS ON MAKING THE BURLESQUE TAB147
CHAPTER XXI148
CHAPTER XXII154
I. WHAT A POPULAR SONG LYRIC IS154
IMPORTANT NOTE155
CHORUS155
REFRAIN155
REFRAIN156
CHORUS156
CHORUS157
CHORUS157
REFRAIN157
REFRAIN158
CHORUS158
CHORUS159
CHORUS159
II.  QUALITIES OF THE POPULAR SONG LYRIC159
CHAPTER XXIII166
I. A POPULAR SONG IN THE MAKING166
II.  POINTS ON SONG BUILDING168
III.  ASSEMBLING THE SONG172
CHAPTER XXIV176
ACT II)176
ACT I)177
SOME OF THE MORE PROMINENT PLAY BROKERS185
A LIST OF WELL KNOWN VAUDEVILLE PRODUCERS185
THE LARGER CIRCUITS AND BOOKING OFFICES186
PUBLISHERS OF VAUDEVILLE MATERIAL186
PROMINENT THEATRICAL PAPERS187
CHAPTER XXV187
APPENDIX195
A WORD ABOUT THE ACTS195
THE MONOLOGUE195
THE TWO-ACTS195
THE PLAYLETS196
THE ONE-ACT MUSICAL COMEDY196
THE BURLESQUE TAB196
197
THE GERMAN SENATOR197
THE ART OF FLIRTATION201
AFTER THE SHOWER206
AFTER THE SHOWER206
THE FELLOW THE GIRL206
214
THE VILLAIN STILL PURSUED HER214
SCENE OF PROLOGUE214
PROLOGUE214
FULL STAGE SCENE215
STAR SPANGLED BANNER, FF, AS CURTAIN FALLS223
THE LOLLARD223
CURTAIN FALLS230
BLACKMAIL230
SCENE230
WHEN THE CURTAIN RISES231
242
THE SYSTEM242
SCENE I243
DARK CHANGE250
STREET SCENE, IN EAST BROADWAY250
DARK CHANGE253
SAME NIGHT, INTERIOR OF GOLDIE’S FLAT253
CURTAIN260
A PERSIAN GARDEN260
SCENE260
OPENING NUMBER260
CURTAIN268
A BURLESQUE IN ONE ACT268
268
CURTAIN282
GLOSSARY282
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Writing for Vaudeville from Project Gutenberg. Public domain.
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