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Stage practice of 1919, taught mainly from European examples.\n\nCurator qualifications: Starting points; no source is better in principle.\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":"Baker lists many starting points for a play and says that, speaking broadly, none is better than another (E1, E2); but the dramatist 'must end in story', and he who begins with a story is nearer the goal than one who begins with an idea or character (E4, E3). 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