{"schema":"record/v1","id":"art_01M5NN8FNEBF1NETKCHW6HTE4A","type":"article","revision":1,"etag":"\"r1.s0\"","title":"Archer's 'obligatory scene' (scene a la faire): how does a work's own set-up and its genre create a duty to deliver an expected scene, what are the limits of that rule, and what checks follow?","summary":"Archer (Play-Making, 1912, ch. XIII) reports Sarcey's scene a faire and restates it as a scene the audience foresees and desires, so that its absence may reasonably be resented. He lists five sources of obligation (logical, dramatic, structural, psychological, historic), argues Sarcey was right that it frequently arises but not that no good play lacks one, and shows that what counts as the obligatory scene depends on the theatre and audience class (a racing play at three kinds of theatre). He warns that awakening a definite expectation and disappointing it is worse than useless (ch. X), that over-preparation is a fatal error (ch. XII), and that two different scenes (Tolstoy's) can fulfil the same function. An earlier batch (C3-B001-S1-02) listed the five types inside a conflict question; this candidate adds the expectation/genre angle, limits and failure checks.","status":"active","body":{"text":"Archer (Play-Making, 1912, ch. XIII) reports Sarcey's scene a faire and restates it as a scene the audience foresees and desires, so that its absence may reasonably be resented. He lists five sources of obligation (logical, dramatic, structural, psychological, historic), argues Sarcey was right that it frequently arises but not that no good play lacks one, and shows that what counts as the obligatory scene depends on the theatre and audience class (a racing play at three kinds of theatre). He warns that awakening a definite expectation and disappointing it is worse than useless (ch. X), that over-preparation is a fatal error (ch. XII), and that two different scenes (Tolstoy's) can fulfil the same function. An earlier batch (C3-B001-S1-02) listed the five types inside a conflict question; this candidate adds the expectation/genre angle, limits and failure checks.\n\nCurator qualifications: tools/c3excerpts.py: 60 of 61 non-empty excerpts matched as written; the 61st (S4-06 E7, Booker 2004 seven plots) is present in LHN node 115 with markup spacing 'Booker ( 2004 )'. Effective 61/61. Archer: 'scène à faire' 15; 'foresees and desires' 1; 'over-preparation' 2; 'worse than useless' 1.\n\nEvidence status: curator/producer inference or synthesis from the cited sources (code read, not executed, where code is cited); correlated desk review (Claude); not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/10865/pg10865.txt","note":"see curator disposition"}]},"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/10865/pg10865.txt","claim":"Archer (Play-Making, 1912, ch. XIII) reports Sarcey's scene a faire and restates it as a scene the audience foresees and desires, so that its absence may reasonably be resented. 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An earlier batch (C3-B001-S1-02) listed the five types inside a conflict question; this candidate adds the expectation/genre angle, limits and failure checks.\n\nCurator qualifications: tools/c3excerpts.py: 60 of 61 non-empty excerpts matched as written; the 61st (S4-06 E7, Booker 2004 seven plots) is present in LHN node 115 with markup spacing 'Booker ( 2004 )'. Effective 61/61. 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