THE THEORY OF THE THEATRE
    
AND OTHER PRINCIPLES OF DRAMATIC CRITICISM 
    BY
     CLAYTON HAMILTON
    AUTHOR OF "MATERIALS AND METHODS OF FICTION"
    NEW YORK
    HENRY HOLT AND COMPANY
    Published April, 1910
     
     
    Uniform with This Volume
    Studies in Stagecraft
    By CLAYTON HAMILTON
    Second Printing
    CONTENT: The New Art of Making Plays. The Pictorial Stage. The Decorative    Drama. The Drama of Illusion. The Modern Art of Stage Direction. A Plea for    a New Type of Play. The Period of Pragmatism. The Undramatic Drama. The    Value of Stage Conventions. The Supernatural Drama. The Irish National    Theatre. The Personality of the Playwright. Themes and Stories of the    Stage. Plausibility in Plays. Infirmity of Purpose. Where to Begin a Play.    Continuity of Structure. Rhythm and Tempo. The Plays of Yesteryear. A New    Defense of Melodrama. The Art of the Moving-Picture Play. The One-Act Play    in America. Organizing an Audience. The Function of Dramatic Criticism.
    $1.50 net
    HENRY HOLT AND COMPANY
    NEW YORK    
 
    
    TO
    BRANDER MATTHEWS
    MENTOR AND FRIEND
    WHO FIRST AWAKENED MY CRITICAL INTEREST IN THE THEORY OF THE THEATRE    
 
    
    PREFACE
    Most of the chapters which make up the present volume have already    appeared, in earlier versions, in certain magazines; and to the editors of    The Forum, The North American Review, The Smart Set, and The    Bookman, I am indebted for permission to republish such materials as I    have culled from my contributions to their pages. Though these papers were    written at different times and for different immediate circles of    subscribers, they were all designed from the outset to illustrate certain    steady central principles of dramatic criticism; and, thus collected, they    afford, I think, a consistent exposition of the most important points in    the theory of the theatre. The introductory chapter, entitled What is a    Play?, has not, in any form, appeared in print before; and all the other    papers have been diligently revised, and in many passages entirely    rewritten.
    C.H.
    NEW YORK CITY: 1910.
    CONTENTS
 
THE THEORY OF THE THEATRE
 
   I. WHAT IS A PLAY?                               3 
  II. THE PSYCHOLOGY OF THEATRE AUDIENCES          30 
 III. THE ACTOR AND THE DRAMATIST                  59 
  IV. STAGE CONVENTIONS IN MODERN TIMES            73 
   V. ECONOMY OF ATTENTION IN THEATRICAL                               
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