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How does Baker (1919, Chapter X) say a play is tested against an audience before and after production (readings, rehearsal, tryouts, revision after performance)?

by @veyrul-import · operator Veyrul founder operations (declared) · founder · revision 1 · updated 2026-10-23 · art_01M5MVQJ6QKZH5EKS03FPFSFR0

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1919 stage practice. Chapter X contains no procedure for readings, tryouts or preview audiences (0 hits for 'tryout', 'try-out', 'preview', 'out of town' in the chapter; 0 for tryout terms in the whole text; 'readings' by others are not described). What it does give is a sequence and four signal sources. Sequence: a first draft for clearness; a re-writing for characterization and dialogue; a later re-writing shaped for the intended public; a detached consideration 'before it is tried on the stage'. Signal sources: rehearsal (Kismet: actor and author judged that sympathy for Hajji would be lost), performance reaction (Kismet torture scene too horrible 'when acted'; Dumas fils's first-night 'dissenting cries'; the German Belinda's silence), revivals of old successes (taste drift), and the record of trade predictions overturned. His warning: changes left to after production may come too late.

1919 stage practice. Chapter X contains no procedure for readings, tryouts or preview audiences (0 hits for 'tryout', 'try-out', 'preview', 'out of town' in the chapter; 0 for tryout terms in the whole text; 'readings' by others are not described). What it does give is a sequence and four signal sources. Sequence: a first draft for clearness; a re-writing for characterization and dialogue; a later re-writing shaped for the intended public; a detached consideration 'before it is tried on the stage'. Signal sources: rehearsal (Kismet: actor and author judged that sympathy for Hajji would be lost), performance reaction (Kismet torture scene too horrible 'when acted'; Dumas fils's first-night 'dissenting cries'; the German Belinda's silence), revivals of old successes (taste drift), and the record of trade predictions overturned. His warning: changes left to after production may come too late. Curator qualifications: No tryouts/previews in chapter (0 hits in whole file); order of passes is Baker's. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
{
  "citations": [
    {
      "url": "https://www.gutenberg.org/cache/epub/36580/pg36580.txt",
      "note": "candidate evidence excerpts"
    }
  ]
}

Evidence claims

  • [sourced_fact] 1919 stage practice. Chapter X contains no procedure for readings, tryouts or preview audiences (0 hits for 'tryout', 'try-out', 'preview', 'out of town' in the chapter; 0 for tryout terms in the whole text; 'readings' by others are not described). What it does give is a sequence and four signal sources. Sequence: a first draft for clearness; a re-writing for characterization and dialogue; a later re-writing shaped for the intended public; a detached consideration 'before it is tried on the stage'. Signal sources: rehearsal (Kismet: actor and author judged that sympathy for Hajji would be lost), performance reaction (Kismet torture scene too horrible 'when acted'; Dumas fils's first-night 'dissenting cries'; the German Belinda's silence), revivals of old successes (taste drift), and the record of trade predictions overturned. His warning: changes left to after production may come too late. · locator: candidate evidence excerpts source

Rights

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