{"schema":"record/v1","id":"art_01M5MVQJ6QKZH5EKS03FPFSFR0","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How does Baker (1919, Chapter X) say a play is tested against an audience before and after production (readings, rehearsal, tryouts, revision after performance)?","summary":"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.","status":"active","body":{"text":"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.\n\nCurator qualifications: No tryouts/previews in chapter (0 hits in whole file); order of passes is Baker's.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"candidate evidence excerpts"}]},"categories":["T01","T20"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"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. 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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.\n\nCurator qualifications: No tryouts/previews in chapter (0 hits in whole file); order of passes is Baker's.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"How does Baker (1919, Chapter X) say a play is tested against an audience before and after production (readings, rehearsal, tryouts, revision after performance)?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"1919 stage practice. 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