{"schema":"record/v1","id":"art_01M5MDE33T5HHG27CCYD0H209P","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What audience-driven changes does the printed Kismet scenario record, and do its marginal notes agree with the reasons Baker gives in Chapter X?","summary":"1919 stage practice, one play. Baker says he printed the full Kismet scenario 'chiefly' to show the changes it underwent. In Chapter X he gives two: the love passage of Hajji was moved away from the murder plotting (judged in rehearsal by actor and author to protect audience sympathy), and the torture of Hajji became a blow with the key (the horror was too great 'when acted'). Bracketed marginal notes in the printed scenario (annotator not named) agree on both and add reasons and timing: the scene was split because Hajj 'could not have a love scene' while brooding about the assassination, and the order was altered in rehearsal at an actor's suggestion; the torture was cut 'as too long and too ugly' and altered during rehearsal. Other notes record a scene cut at rehearsal as irrelevant to the story, a scene cut before rehearsal on a friend's suggestion, and a scene enlarged in rehearsal. All of this concerns insiders' judgement in rehearsal, not measured audiences.","status":"active","body":{"text":"1919 stage practice, one play. Baker says he printed the full Kismet scenario 'chiefly' to show the changes it underwent. In Chapter X he gives two: the love passage of Hajji was moved away from the murder plotting (judged in rehearsal by actor and author to protect audience sympathy), and the torture of Hajji became a blow with the key (the horror was too great 'when acted'). Bracketed marginal notes in the printed scenario (annotator not named) agree on both and add reasons and timing: the scene was split because Hajj 'could not have a love scene' while brooding about the assassination, and the order was altered in rehearsal at an actor's suggestion; the torture was cut 'as too long and too ugly' and altered during rehearsal. Other notes record a scene cut at rehearsal as irrelevant to the story, a scene cut before rehearsal on a friend's suggestion, and a scene enlarged in rehearsal. All of this concerns insiders' judgement in rehearsal, not measured audiences.\n\nCurator qualifications: Uses Kismet scenario printed by permission; short excerpts. 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Baker says he printed the full Kismet scenario 'chiefly' to show the changes it underwent. In Chapter X he gives two: the love passage of Hajji was moved away from the murder plotting (judged in rehearsal by actor and author to protect audience sympathy), and the torture of Hajji became a blow with the key (the horror was too great 'when acted'). Bracketed marginal notes in the printed scenario (annotator not named) agree on both and add reasons and timing: the scene was split because Hajj 'could not have a love scene' while brooding about the assassination, and the order was altered in rehearsal at an actor's suggestion; the torture was cut 'as too long and too ugly' and altered during rehearsal. Other notes record a scene cut at rehearsal as irrelevant to the story, a scene cut before rehearsal on a friend's suggestion, and a scene enlarged in rehearsal. All of this concerns insiders' judgement in rehearsal, not measured audiences.\n\nCurator qualifications: Uses Kismet scenario printed by permission; short excerpts. 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