Besides this, the National Phonograph Company maintains a special staff for carrying on the business with foreign countries. While the aggregate transactions of this department are not as extensive as those for the United States and Canada, they are of considerable volume, as the foreign office distributes in bulk a very large number of phonographs and rec- ords to selling companies and agencies in Europe, Asia, Australia, Japan, and, indeed, to all the countries of the civilized world. Like England's drumbeat, the voice of the Edison phonograph is heard around the world in undying strains throughout the twenty- four hours.
 It may be of interest to the reader to note some parts of the globe to which shipments of phonographs and records are made:
Samoan Islands Falkland Islands Siam Corea Crete Island Paraguay Chile Canary Islands Egypt British East Africa Cape Colony Portuguese East Africa Liberia Java Straits Settlements Madagascar Fanning Islands New Zealand French Indo-China Morocco Ecuador Brazil Madeira South Africa Azores Manchuria Ceylon Sierra Leone
In addition to the main manufacturing plant at Orange, another important adjunct must not be forgotten, and that is, the Recording Department in New York City, where the master records are made under the superintendence of experts who have studied the intricacies of the art with Edison himself. This department occupies an upper story in a lofty building, and in its various rooms may be seen and heard many prominent musicians, vocalists, speakers, and vaudeville artists studiously and busily engaged in making the original records, which are afterward sent to Orange, and which, if approved by the expert committee, are passed on to the proper department for reproduction in large quantities.
When we consider the subject of motion pictures we find a similarity in general business methods, for while the projecting machines and copies of picture films are made in quantity at the Orange works (just as phonographs and duplicate records are so made), the original picture, or film, like the master record, is made elsewhere. There is this difference, however: that, from the particular nature of the work, practically ALL master records are made at one convenient place, while the essential interest in SOME motion pictures lies in the fact that they are taken in various parts of the world, often under exceptional circumstances. The "silent drama," however, calls also for many representations which employ conventional acting, staging, and the varied appliances of stage- craft. Hence, Edison saw early the necessity of providing a place especially devised and arranged for the production of dramatic performances in pantomime.
It is a far cry from the crude structure of early days--the "Black Maria" of 1891, swung around on its pivot in the Orange laboratory yard--to the well- appointed Edison theatres, or pantomime studios, in New York City. The largest of these is located in the suburban Borough of the Bronx, and consists of a three-story-and-basement building of reinforced concrete, in which are the offices, dressing-rooms, wardrobe and property-rooms, library and developing department. Contiguous to this building, and connected with it, is the theatre proper, a large and lofty structure whose sides and roof are of glass, and whose floor space is sufficiently ample for six different sets of scenery at one time, with plenty of room left for a profusion of accessories, such as tables, chairs, pianos, bunch-lights, search-lights, cameras, and a host of varied paraphernalia pertaining to stage effects.
The second Edison theatre, or studio, is located not far from the shopping district in New York City. In all essential features, except size and capacity, it is a duplicate of the one in the Bronx, of which it is a supplement.
To a visitor coming on the floor of such a theatre for the first time there is a sense of confusion in beholding the heterogeneous "sets" of scenery and the motley assemblage of characters represented in the various plays in the process of "taking," or rehearsal. While each set constitutes virtually a separate stage, they are all on the same floor, without wings or proscenium-arches, and separated only by a few feet. Thus, for instance, a Japanese house interior may be seen cheek by jowl with an ordinary prison cell, flanked by a mining-camp, which in turn stands next to a drawing-room set, and in each a set of appropriate characters in pantomimic motion. The action is incessant, for in any dramatic representation intended for the motion-picture film every second counts.
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