These screens can be easily set closer to the center of the stage, thereby diminishing its size on the sides. Then the "grand drapery" above, which hangs down from behind the top of the proscenium arch, and which should be of the same color and material as the side screens, is lowered. This process makes, from the inside, a smaller proscenium arch. Many of the German and some other stages have added a fourth side to this frame, by "boxing" the footlights:
This last, besides giving the effect of a detached picture to the set, prevents the direct rays of the footlights, when they are used, from shining up into the gallery.
To return to the smaller scene made by the inner proscenium arch, it will readily be seen that the cyclorama—if there is one—or back wall of the set, or else the curtain, must usually be brought forward a little. The advantage of the inner proscenium becomes apparent when such a play as "The Merchant of Venice" is performed, and the absurdity of using a stage of the same size for the Portia-Nerissa scene in the first act and the casket scene, is forcibly brought to our attention.
The Revolving Stage and The Wagon Stage. These are fully described in the books which have been referred to. They are both extremely valuable, but as yet too complicated and expensive to be seriously considered for amateurs.
The introduction of simpler scenery and simpler lighting does away with much that was difficult to manage under the old system, and a few well-trained amateurs should be able to set and attend to almost any production without having recourse to the revolving stage and the "wagons."
As much space as possible should be kept clear behind the curtain; occasions are likely to arise when the entire stage may be used, and manipulation of scenery on a full stage is a difficult task.
A few suggestions as to lighting and its relation to scenery and color and action will be set forth in the next chapter.