The recent extraordinary development in the art of the moving picture, especially in France, has taught us that many well-known plays may be presented in pantomime and reproduced by the kinetoscope, with no essential loss of intelligibility through the suppression of the dialogue.  Sardou, as represented by the biograph, is no longer a man of letters; but he remains, scarcely less evidently than in the ordinary theatre, a skilful and effective playwright. Hamlet, that masterpiece of meditative poetry, would still be a good play if it were shown in moving pictures.  Much, of course, would be sacrificed through the subversion of its literary element; but its essential interest as a play would yet remain apparent through the unassisted power of its visual appeal.

There can be no question that, however important may be the dialogue of a drama, the scenario is even more important; and from a full scenario alone, before a line of dialogue is written, it is possible in most cases to determine whether a prospective play is inherently good or bad.  Most contemporary dramatists, therefore, postpone the actual writing of their dialogue until they have worked out their scenario in minute detail.  They begin by separating and grouping their narrative materials into not more than three or four distinct pigeon-holes of time and place,—­thereby dividing their story roughly into acts.  They then plan a stage-setting for each act, employing whatever accessories may be necessary for the action.  If papers are to be burned, they introduce a fireplace; if somebody is to throw a pistol through a window, they set the window in a convenient and emphatic place; they determine how many chairs and tables and settees are demanded for the narrative; if a piano or a bed is needed, they place it here or there upon the floor-plan of their stage, according to the prominence they wish to give it; and when all such points as these have been determined, they draw a detailed map of the stage-setting for the act.  As their next step, most playwrights, with this map before them, and using a set of chess-men or other convenient concrete objects to represent their characters, move the pieces about upon the stage through the successive scenes, determine in detail where every character is to stand or sit at nearly every moment, and note down what he is to think and feel and talk about at the time.  Only after the entire play has been planned out thus minutely does the average playwright turn back to the beginning and commence to write his dialogue.  He completes his primary task of play-making before he begins his secondary task of play-writing.  Many of our established dramatists,—­like the late Clyde Fitch, for example—­sell their plays when the scenario is finished, arrange for the production, select the actors, and afterwards write the dialogue with the chosen actors constantly in mind.