Writing for Vaudeville eBook

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Start of eBook	1
Title: Writing for Vaudeville	1
WRITING FOR VAUDEVILLE	1
BY BRETT PAGE	1
DRAMATIC EDITOR, NEWSPAPER FEATURE SERVICE, NEW YORK	1
FOREWORD	1
INTRODUCTION	2
J. BERG ESENWEIN	2
CHAPTER I	2
CHAPTER II	9
CHAPTER III	15
I. THE PHYSICAL PROPORTIONS OF THE VAUDEVILLE STAGE	15
II. THE WORKING DEPARTMENTS OF THE VAUDEVILLE STAGE	16
STAGE-DIAGRAM OF THE PALACE THEATRE, NEW YORK	17
III. THE SCENERY OF THE VAUDEVILLE STAGE	18
CHAPTER IV	22
INTRODUCTION TO DIAGRAMS	24
WHAT THE DIAGRAMS INCLUDE	25
DIAGRAM I.—FANCY INTERIOR No. 1	25
DIAGRAM II.—FANCY INTERIOR No. 2	25
DIAGRAM III.—FANCY INTERIOR No. 3	25
DIAGRAM IV.—FANCY INTERIOR No. 4	25
DIAGRAM V.—FANCY INTERIOR No. 5	25
DIAGRAM VI.—KITCHEN SET No. 1	26
DIAGRAM VII.—KITCHEN SET No. 2	26
DIAGRAM VIII.—WOOD OR GARDEN SET	26
CHAPTER V	29
II. WHAT A MONOLOGUE IS	32
III. THE MONOLOGUE’S NOTABLE CHARACTERISTICS	32
CHAPTER VI	36
I. CHOOSING A THEME	36
II. A FEW THEMES OF UNIVERSAL INTEREST	37
III. HOW TO BEGIN TO WRITE	37
IV. BUILDING A MONOLOGUE BEFORE AN AUDIENCE	41
V. OTHER SINGLE TALKING ACT FORMS	42
VI. A FINAL WORD	42
CHAPTER VII	43
CHAPTER VIII	50
I. THE INDIVIDUAL TWIST OF THE TWO-ACT	51
II. THINKING OUT THE TWO-ACT	52
III. TWO-ACT CHARACTERS	55
IV. THE TWO CHARACTER PARTS	55
CHAPTER IX	56
I. WHERE TO BEGIN	57
II. THE DEVELOPMENT	57
III. HOW AND WHERE TO END	60
IV. MAKING THE MANUSCRIPT A STAGE SUCCESS	61
V. OTHER TWO-ACT FORMS	62
CHAPTER X	63
I. NEAR-DRAMATIC FORMS WHICH PRECEDED THE VAUDEVILLE PLAYLET	63
II. DRAMATIC FORMS FROM WHICH THE PLAYLET EVOLVED	65
III. HOW THE VAUDEVILLE SKETCH AND THE PLAYLET DIFFER	70
IV. WHAT A PLAYLET IS	71
CHAPTER XI	72
CHAPTER XII	76
I. THE THEME-PROBLEM AND ITS RANGE	76
II. WHERE PLAYLET WRITERS GET THEIR IDEAS	78
III. A SUPPOSITITIOUS EXAMPLE OF GERM-DEVELOPMENT	80
IV. HOW A PLAYLET WRITER RECOGNIZES A PLAYLET IDEA	82
V. HOW MUCH OF THE PLAYLET IS ACHIEVED WITH THE IDEA	83
CHAPTER XIII	83
CHAPTER XIV	95
II. THE VITAL PARTS OF THE PLOT	97
III. THE THREE DRAMATIC UNITIES	105
CHAPTER XV	109
I. CHARACTERS VERSUS PLOT	109
II. THE PERSONS OF THE PLAYLET	110
III. FITTING CHARACTERS TO PLOT	112
IV. CHARACTERIZATION	113
CHAPTER XVI	115
CHAPTER XVII	122
CHAPTER XVIII	129
I. WHEN TO BEGIN	130
II. POINTS TO BRING OUT PROMINENTLY	131
III. PUTTING PUNCH INTO THE IDEA	133
IV. SELECTING A PROPER TITLE	136
V. MAKING THE PLAYLET A HIT	137
CHAPTER XIX	138
CHAPTER XX	143
HINTS ON MAKING THE BURLESQUE TAB	147
CHAPTER XXI	148
CHAPTER XXII	154
I. WHAT A POPULAR SONG LYRIC IS	154
IMPORTANT NOTE	155
CHORUS	155
REFRAIN	155
REFRAIN	156
CHORUS	156
CHORUS	157
CHORUS	157
REFRAIN	157
REFRAIN	158
CHORUS	158
CHORUS	159
CHORUS	159
II. QUALITIES OF THE POPULAR SONG LYRIC	159
CHAPTER XXIII	166
I. A POPULAR SONG IN THE MAKING	166
II. POINTS ON SONG BUILDING	168
III. ASSEMBLING THE SONG	172
CHAPTER XXIV	176
ACT II)	176
ACT I)	177
SOME OF THE MORE PROMINENT PLAY BROKERS	185
A LIST OF WELL KNOWN VAUDEVILLE PRODUCERS	185
THE LARGER CIRCUITS AND BOOKING OFFICES	186
PUBLISHERS OF VAUDEVILLE MATERIAL	186
PROMINENT THEATRICAL PAPERS	187
CHAPTER XXV	187
APPENDIX	195
A WORD ABOUT THE ACTS	195
THE MONOLOGUE	195
THE TWO-ACTS	195
THE PLAYLETS	196
THE ONE-ACT MUSICAL COMEDY	196
THE BURLESQUE TAB	196
	197
THE GERMAN SENATOR	197
THE ART OF FLIRTATION	201
AFTER THE SHOWER	206
AFTER THE SHOWER	206
THE FELLOW THE GIRL	206
	214
THE VILLAIN STILL PURSUED HER	214
SCENE OF PROLOGUE	214
PROLOGUE	214
FULL STAGE SCENE	215
STAR SPANGLED BANNER, FF, AS CURTAIN FALLS	223
THE LOLLARD	223
CURTAIN FALLS	230
BLACKMAIL	230
SCENE	230
WHEN THE CURTAIN RISES	231
	242
THE SYSTEM	242
SCENE I	243
DARK CHANGE	250
STREET SCENE, IN EAST BROADWAY	250
DARK CHANGE	253
SAME NIGHT, INTERIOR OF GOLDIE’S FLAT	253
CURTAIN	260
A PERSIAN GARDEN	260
SCENE	260
OPENING NUMBER	260
CURTAIN	268
A BURLESQUE IN ONE ACT	268
	268
CURTAIN	282
GLOSSARY	282

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Writing for Vaudeville from Project Gutenberg. Public domain.