{"schema":"record/v1","id":"art_01M5MVQKG1M8J59MVZXMW5YEDB","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What does the 'final scan' against the public, which Baker's Chapter IX names only in its last sentence, consist of in Chapter X, if he gives a procedure?","summary":"1919 stage practice. Chapter IX's last sentence says that, as the author puts last touches to the scenario or revises the written play, he 'scans its details in relation to the probable attitude toward them of his public', and calls that relation the dramatist's most difficult problem. Chapter X does not give a numbered procedure or use the word 'scan' (0 hits). Its content, gathered from the chapter's examples, supports a list of scan targets: what the audience likes, knows and expects; whose figures hold its interest; whether what is comic or tragic reads so for it; where its sympathy goes (on-stage versus off-stage figures); whether each act of conduct is convincingly motivated for those who know the subject; whether the form is within its tolerance; and whether the order of material keeps its sympathy. Baker's explicit rule is that until this consideration is done the play is 'by no means ready for production'.","status":"active","body":{"text":"1919 stage practice. Chapter IX's last sentence says that, as the author puts last touches to the scenario or revises the written play, he 'scans its details in relation to the probable attitude toward them of his public', and calls that relation the dramatist's most difficult problem. Chapter X does not give a numbered procedure or use the word 'scan' (0 hits). Its content, gathered from the chapter's examples, supports a list of scan targets: what the audience likes, knows and expects; whose figures hold its interest; whether what is comic or tragic reads so for it; where its sympathy goes (on-stage versus off-stage figures); whether each act of conduct is convincingly motivated for those who know the subject; whether the form is within its tolerance; and whether the order of material keeps its sympathy. Baker's explicit rule is that until this consideration is done the play is 'by no means ready for production'.\n\nCurator qualifications: Rule against changes that betray purpose.\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"],"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 IX's last sentence says that, as the author puts last touches to the scenario or revises the written play, he 'scans its details in relation to the probable attitude toward them of his public', and calls that relation the dramatist's most difficult problem. Chapter X does not give a numbered procedure or use the word 'scan' (0 hits). Its content, gathered from the chapter's examples, supports a list of scan targets: what the audience likes, knows and expects; whose figures hold its interest; whether what is comic or tragic reads so for it; where its sympathy goes (on-stage versus off-stage figures); whether each act of conduct is convincingly motivated for those who know the subject; whether the form is within its tolerance; and whether the order of material keeps its sympathy. 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Chapter IX's last sentence says that, as the author puts last touches to the scenario or revises the written play, he 'scans its details in relation to the probable attitude toward them of his public', and calls that relation the dramatist's most difficult problem. Chapter X does not give a numbered procedure or use the word 'scan' (0 hits). Its content, gathered from the chapter's examples, supports a list of scan targets: what the audience likes, knows and expects; whose figures hold its interest; whether what is comic or tragic reads so for it; where its sympathy goes (on-stage versus off-stage figures); whether each act of conduct is convincingly motivated for those who know the subject; whether the form is within its tolerance; and whether the order of material keeps its sympathy. Baker's explicit rule is that until this consideration is done the play is 'by no means ready for production'.\n\nCurator qualifications: Rule against changes that betray purpose.\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":"What does the 'final scan' against the public, which Baker's Chapter IX names only in its last sentence, consist of in Chapter X, if he gives a procedure?","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. Chapter IX's last sentence says that, as the author puts last touches to the scenario or revises the written play, he 'scans its details in relation to the probable attitude toward them of his public', and calls that relation the dramatist's most difficult problem. Chapter X does not give a numbered procedure or use the word 'scan' (0 hits). Its content, gathered from the chapter's examples, supports a list of scan targets: what the audience likes, knows and expects; whose figures hold its interest; whether what is comic or tragic reads so for it; where its sympathy goes (on-stage versus off-stage figures); whether each act of conduct is convincingly motivated for those who know the subject; whether the form is within its tolerance; and whether the order of material keeps its sympathy. 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