The foregoing remarks have been applied largely to romantic plays, but what is to be done in modern realistic pieces? There are two courses open, besides the conventional one (using box sets):
The first method is to use the regular hangings as before and set a few needful articles of furniture about the stage. This is not realistic, but there are many realistic plays which can be produced without correspondingly realistic settings. Of course, where windows are referred to and used, there must be real windows, and where a character is directed to hang a picture on a wall, there must be a wall. However, there are many realistic plays where box sets are not required. Hermann Sudermann's "The Far-away Princess" is a case in question. The author has definitely suggested a certain setting for the play, but as his suggestions are not absolutely essential they may be modified. The directions are:
"The veranda of an inn. The right side of the stage and half of the background represent a framework of glass enclosing the veranda. The left side and the other half of the background represent the stone walls of the house. To the left, in the foreground, a door; another door in the background, at the left. On the left, back, a buffet and serving table. Neat little tables and small iron chairs for visitors are placed about the veranda. On the right, in the centre, a large telescope, standing on a tripod, is directed through an open window. ROSA, dressed in the costume of the country, is arranging flowers on the small tables. FRAU LINDEMANN, a handsome, stoutish woman in the thirties, hurries in excitedly from the left."
If the dramatist's stage directions are implicitly followed, a realistic set will be required. The scene as set according to the diagram, has, however, often been used:
Once more, the little shrubs may be used in order to give an atmosphere of outdoors.
Or, to take an example of a "modern-interior" play in which the same conventionalized scenery may be used to advantage—Alfred Capus' "Brignol and his Daughter" (published by French) is set as follows:
Scene: An office, fitted up with various articles of parlor furniture—rather pretentious in appearance. To the right, a table with letter-files, and a safe; beside the safe, a bookshelf. At the back is the main entrance; there are other doors, right and left, one opening upon a bed-room, the other upon the parlor.
Here the setting is so usual, so conventional, that no actual room is required: merely the table, chairs, safe, etc., as called for. Of course, it is not imperative that such plays should be set in this manner: the arrangement with screens about to be described is usually the best way. The point here to be impressed is that realistic sets are not always required for realistic plays.