Chapter III: Act III: SCENE 1. The Faculty Room at the School

SCENE 2. By the Wall of the Graveyard.
SCENE 3. In the Gabor House.
SCENE 4. In the House of Correction.
SCENE 5. Wendla’s Bedroom.
SCENE 6. A Vineyard.
SCENE 7. The Graveyard.

It will be noted that the scenes concluding the acts, long scenes all of them, are intended to occupy the full stage, and that the prior scenes in each act may be played in the foreground.

Two of the scenes, II, 3, and III, 6, have nothing to do with the story and to save time may be omitted, though the latter has another importance, lightening with its idyllic atmosphere the squalor and bitterness of the last act. If it _is_ omitted, III, 4, and III, 5, might be played in reverse order.

The simplest arrangement of the stage would be a neutral proscenium, six or seven feet deep, pierced with doors. Behind this, different backwalls can be lowered, and all the interior scenes played in this shallow front space. On the back of the stage should be sloping ground covered with underbrush, and a path winding down through it. In the middle-stage can be set the properties for special scenes--a bench in a box-hedge for I, 2 and 3; a huge oak-trunk for I, 5; a garden wall with grass and violets for II, 6; the graveyard wall with Moritz’s grave for III, 2, etc. The swiftest possible sequence of scenes within the act is of prime importance.