A complex intrigue may demand cooeperation at half a dozen spots, and we look now into one, now into another, and never have the impression that they come one after another.

The temporal element has disappeared, the one action irradiates in all directions.

Of course, this can easily be exaggerated, and the result must be a certain restlessness.

If the scene changes too often and no movement is carried on without a break, the play may irritate us by its nervous jerking from place to place.

Near the end of the Theda Bara edition of Carmen the scene changes one hundred and seventy times in ten minutes, an average of a little more than three seconds for each scene.