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Updated: May 26, 2025
On the modern stage, five acts may be regarded as the maximum, simply by reason of the time-limit imposed by social custom on a performance. But one frequently sees a melodrama divided into "five acts and eight tableaux," or even more; which practically means that the play is in eight, or nine, or ten acts, but that there will be only the four conventional interacts in the course of the evening.
It is true that in the Elizabethan theatre there was no need of long interacts for the change of scenes, and that such interacts are an abuse that calls for remedy.
In point of fact abstract oneness as such doesn't change, neither has it parts any more than abstract independence as such interacts. But then neither abstract oneness nor abstract independence exists; only concrete real things exist, which add to these properties the other properties which they possess, to make up what we call their total nature.
Neither the heart nor the constitution is corrupted by it; neither nose nor character lost by it; manners, possibly, improved. Play, in good company, is only play, and not gaming; not deep, and consequently not dangerous nor dishonorable. It is only the interacts of other amusements.
"It appears to me to belong to a separate order of existence, which interacts with this material frame of things, and, while there, exerts guidance and control on the energy which already exists." "Life does not add to the stock of any human form of energy, nor does death affect the sum of energy in any known way." "Life can generate no trace of energy, it can only guide its transmutations."
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