It is presupposed that every scene set down in the manuscript is absolutely necessary, and by necessary we mean essential to the cumulative advancement of the play. The contents of the scene itself consists of the writer’s process of visualizing his story thru appropriate directions for the movement of the characters and a description of the resultant action, vividly, tersely and suggestively told in the present tense. The same economical care should be practised in the selection of only essential material and the rejection of unessential details as one observes in the construction of the short story. While the writer is supposed to tell only what is to be done and not to presume even to suggest how, yet there are many subtile emotions the perfect interpretation of which he may have in mind. A happy suggestion may often save the busy and hurried actor or director time, and express exactly what the writer has in mind instead of making it necessary to guess at his thoughts.
As the writer plans the effect to be produced by his completed play, so he must keep in mind a desired effect to be accomplished by each scene. The length of a scene is determined precisely by it attaining the single effect for which it was created. Thus a scene has a unity of its own which is comparable with that of the complete play: Introduction, or establishment of relationship sufficient for the audience to grasp the significance of the action; rising development; pronounced climax, which is the signal for its termination—for a scene never has a denouément. The succeeding scene always carries the play a step forward or higher.
(EXAMPLE 8.) Scene 52—ON THE BALCONY. Malcolm singing with his whole soul in his expression. Scene 53—JEWEL ROOM. Douglas still kneeling before the cabinet, suddenly pauses, his face contorted with painful memory.
Much confusion would be eliminated, and clearness and precision affected, if there were a change in terminology calling scenes “acts,” for they are distinct units of action and definite and complete acts in the development of the play. The scene, as its etymology indicates, has primarily to do with the scenery or setting. The same scene is repeated over and over again, tho it always bears a new number. The same act is never repeated (except in facsimile in the vision scene), so that the consecutive numbering of acts from beginning to end of play would have a specific value, just as the consecutive numbering of repeated scenes is decidedly confusing.
SPECIAL NOTE.—In Part IV of this volume will be found one complete photoplay, embodying all points discussed in these chapters, and from which, in the main, illustrative examples have been chosen. A Glossary contains a modified definition of all technical terms employed.
Artifice is the edged tool of Art which, when wielded skilfully, may carve lines of life in a piece of clay and bring fame to the artificer; when handled clumsily it is sure to mar the material and may injure the hand of the artisan.
CHAPTER IV
Various Devices—Their Use and Misuse
THE CAPTION; THE INSERT; THE CLOSE-VIEW; THE VISION; DIALOG; BREAKING UP LONG SCENES; PRESERVING THE ILLUSION.
DO not seek to write photoplays that are sufficient in themselves and do not need the aid of tricks of the trade, devices or artifices. Such plays must need be crude because, even tho perfect in plot, they are bound to appear cut-and-dried, clipped and cured, and wanting in all those little human touches which by piercing the emotions and gaining the sympathies of the audience, do more than win the approbation of the mind. The impression that the perfect play is the one which can dispense with any of the legitimate devices, no doubt comes from a misconception of the precise potentialities of these artifices. It is true, if they do not serve as a means to an end; an integral part of the play; units in the development of the story; then they not only may, but should, be dispensed with, by all means. We employ nothing—property, actor, scene, spectacle, spoken word, insert, incident or device—in the perfect photoplay that has not a bearing on the climax of the play.