Notice first that the davenport is not placed at right angles to the audience; this is done so that two people, sitting side by side, may be better seen by the "house." Notice, too, that A is at the extreme left-hand corner of the davenport. Visualize this for an instant: here is proportion, line, and balance, but without the appearance of stiffness or symmetry, which should always be avoided. B rises and stands before the fireplace: again notice the grouping:
A then rises and goes to the center of the stage, standing near the left of the table:
This simple moving about the room should never be obtrusive; that is to say, the audience must never be conscious of the director's hand. First, every bit of "business", every move, every gesture, must be justified, otherwise it calls attention to itself. This is a distinct problem with amateurs, who naturally find it difficult not to move about when they have nothing else to do. They feel self-conscious unless they are "acting." The best rule for any amateur—although it is again the director who is responsible and should look after this—is, never to do anything unless he knows precisely why he does it, and unless he feels it.
One further example: imagine a five-minute conversation, in the text of which there are no stage directions. It is between two women: D and E. They are seated, one in an arm-chair by the fire, the other in an ordinary chair to the right of a library table:
There are not many plays in which two characters merely converse for so long a period without well-motivated reasons, but it is well to take an extreme example. Let us assume that D is telling E the story of her life, and that for two minutes her speech contains little more than straight narrative. Suddenly she tells a sad incident, and E, who has a sympathetic nature, wipes her eyes with her handkerchief. D continues, and E, no longer able to restrain her tears but not wishing to show her emotion to D, rises and goes to the left of the stage for a moment or two. The long conversation scene is now broken up by a natural bit of action. While in life such a conversation might consume hours, on the stage it must be made more attractive and emotionally stimulating; in the theater, the appeal is through the eye and ear, to the emotions.
Such a scene as the one just outlined must be repeatedly rehearsed, until every detail of the "business" is worked out perfectly.
After approximately ten days' work on the first act—during which period each of the other acts should be run through at least three times—the actors should be letter perfect and able to give a fairly smooth performance.