The Mise en Scène
WE have described, with great exactitude, what happens when a dramatist writes a play, and has it accepted; and how things turn out at the several kinds of rehearsals, including the dress rehearsal. We have also, in a touching manner, described all that the dramatist feels and experiences when he finally witnesses the various processes through which his word arrives at its theatrical incarnation. We have seen how the play becomes the axis around which the whole business of the theatre begins to revolve. We have been able to observe how creakily, and in what apparent confusion and terrible scramble, everything is put at the service of the exalted Muse to whom, with his play, the dramatist has given an opportunity to manifest herself. At the
F
