The One-act play is with us and is asking for consideration. Theatre managers, stage designers, devotees of the drama, actors, dramatists, and University professors recognize its presence. It is to be noted, too, that no apology is being offered for the better sort of contemporary One-act plays. As a matter of fact, none is needed. They justify themselves as worth-while studies of human life and human character. Without adequate first-hand acquaintance with the fundamentals of life, they cannot be written any more than can the three-act form. The One-act play is no longer to be dismissed with a careless wave of the hand. It has come to be a fact in contemporary dramatic expression.<br><br>The writing of this volume has been prompted by two things.