Book of Etiquette Volume Ii Part 10

ARRANGING PRIVATE THEATRICALS

Everyone enjoys private theatricals, amateur and otherwise--the hostess, the guests, and the actors and actresses themselves. It is an ideal means of entertainment.

In arranging a private theatrical, which is almost invariably an amateur venture, the first important thing to do is to find a play which is adapted to that talent which is available. It is wise to appoint a committee to read numerous plays and select for final consideration those that seem best fitted to the type of actors and actresses available. If one of the young men is naturally witty and bubbling over with hilarity and good fun, he must not be given a part that necessitates grave and solemn behavior. If he, and the other actors, are given parts not suited to them, the play is doomed to failure before it is even staged.

Unless the performers have had some experience in theatricals it is best to choose a comedy--for even a Greek tragedy in all its poignant simplicity may become a farce in the hands of unskilful actors.

Rehearsals are of vital importance. The members of the cast must rehea.r.s.e and rehea.r.s.e and rehea.r.s.e again until they know their parts perfectly. They must be punctual and regular in their attendance of the rehearsals; continually to miss them is to spoil the play and a lack of preparation on the part of one actor is unfair to the others, for ultimate success depends on each one of the players.

The performance is usually given in the drawing-room of the host who issues the invitations, which, by the way, must be sent out two or three weeks in advance. The host must arrange for stage, lighting effects, seating facilities and all the other incidental details.

THE PLAYERS

In a.s.signing parts care must be taken, as was pointed out above, in selecting that character which is most in accord with the player's own character. This is so important that it cannot be over-emphasized. And when finally the correct part is chosen for him, he must learn his lines so thoroughly that he will be able, figuratively, to "say them in his sleep."

Costumes for the play may be obtained from any theatrical supply house.

They must be of the style prevalent at the date of the play; Colonial clothes in a Mid-Victorian setting foredoom the play to failure. A curtain may also be hired from a theatrical supply house, but it is very simple to adjust one made at home by means of bra.s.s rings such as are used in hanging portieres. There should be a separation in the center so that the curtain may be drawn back from both sides.

Footlights may consist of a row of small electric lights, or a row of reflector lamps will impart the desired effect to the improvised stage.

For wings, large j.a.panese screens will do or they, too, may be hired from the people who supply the costumes.

To give the effect of lightning, a magnesia torch is most effective.

Thunder is simulated by beating slowly on a ba.s.s drum. Hoof beats seem quite real when produced by beating two cocoanut sh.e.l.ls on marble.

The danger of stage fright can be lessened and almost obliterated after a sufficient number of rehearsals, and with that poise and self-confidence that comes with true culture, one should be able to stand before the largest audience without embarra.s.sment or nervousness.

It is one of the rewards of correct training.

THE GUESTS

As in the musicale, silence is essential. There is nothing more disconcerting to actors than to notice whispering, giggling or lack of interest in the audience. Whether the play is worthy of interest or not, courtesy towards guests and performers demands the appearance of interest.

Guests must answer invitations promptly. In fact, in almost every detail, attending a theatrical given in the home of a friend requires the same etiquette as is observed at a fashionable evening musicale. In departing, the hostess must be cordially thanked for the pleasant evening, and if the actors are friends of the a.s.semblage and join the guests after the play, they, too, must be thanked for their share of the entertainment.

HOST AND HOSTESS

The host and hostess usually receive together at private theatricals.

They stand together at the door of the drawing-room, welcome each guest and make the necessary introductions. When the curtain is drawn, they take seats near the back and rise to greet any delinquent guest.

After the play a supper may be served. If the actors are friends they join in the supper. But sometimes these private theatricals are not amateurish, but given by professionals, in which case the etiquette is somewhat different, and the performers may or may not be invited, as the hostess chooses.

Engraved cards are issued, and in the lower left-hand corner appears the name of the play and the leading actor (if he happens to be a celebrity). The guests are expected to arrive at a definite hour, and lateness in this case is inexcusable. If the professional players do not offer their services free, they must receive remuneration for them.

CHAPTER VII

DANCING

DANCING AS A HEALTHFUL ART

Dancing is an art. More than that, it is a healthful art. In its graceful movements, cadenced rhythms, and expressive charms are evident the same beautiful emotions that are so eloquently expressed in music, sculpture, painting. And it is through these expressions of emotion, through this silent poetry of the body that dancing becomes a healthful art, for it imparts to the body--and mind--a poise and strength without which no one can be quite happy.

It is because the vital importance of dancing on the mind and body has been universally recognized, that it has been added to the curriculum of public schools in almost every country. We find the youngsters revelling in folk-dances, and entering dancing games with a spirit that gives vigor to their bodies, balance and grace to their movements.

Consider, for a moment, the irresistible witchery of music, of rhythmic cadences. We hear the martial note of the drum, and unconsciously our feet beat time. We hear the first deep chords of the orchestra, and involuntarily our fingers mark the time of the measure. With the soft, mellow harmony of triplet melodies we are transported to the solemn vastness of a mountain beside a gayly rippling stream. With the deep, sonorous bursts of triumphant melody, we are transported to the ocean's edge, where the rumbling of the waves holds us in awed ecstasy. Thoughts of sorrow, of gladness, of joy, of hope surge through us and cry for expression. Dancing is nature's way of expressing these emotions.

Then let us dance, for in dancing we find poise and strength and balance. Let us dance for in dancing we find joy, pleasure, hope. It is the language of the feelings, and nature meant it for the expression of those feelings.

It is only when dancing is confined to hot, crowded rooms where the atmosphere is unwholesome, that it loses its healthful influence on mind and body. But where there is plenty of room and fresh air, plenty of good, soul-inspiring music--we say dance, young and old alike, dance for the keen pleasure and joy of the dance itself, and for the health that follows in its wake!

DANCE-GIVING NO LONGER A LUXURY

The day of the strictly formal dance, entailing elaborate suppers, pretentious decorations and large orchestras has pa.s.sed. In its place is the simple, enjoyable, inexpensive dance which is at once the delight of the guests and the pride of the hostess.

Simplicity is the keynote of the modern ball. A piano and two stringed instruments usually comprise the entire orchestra. The charm of the home is no longer spoiled by overdecoration; a vase or two containing the flowers of the season offer the sole touch of festivity. There are, of course, numerous personal innovations that may be inst.i.tuted; but as the guests are a.s.sembled for dancing, s.p.a.ce and a good floor and plenty of fresh air are the primary and paramount requisites.

Light refreshments have taken the place of the large suppers of not so long ago. Hostesses no longer feel over-burdened with a sense of obligation. The dance has become simple and inexpensive; and because it is also so thoroughly enjoyable and healthful, it has become a favorite sport, especially during the cooler months.

THE DeBUT DANCE

Perhaps the most important dance of all is that given in honor of the _debutante_. No matter how large or formal a dance may be, it is never called a "ball" in the invitation. The latter is used only in case of a large public dance or function. The usual "at home" form of invitation is used, and in the lower left-hand corner the word _dancing_ is printed. The name of the young _debutante_ may be included if it is so desired, although it is not essential. But if it is an evening occasion, the name of both host and hostess must appear on the invitation.

Whether the dance is held in her own home or in a hall hired for the occasion, the hostess receives and welcomes each guest. She may be a.s.sisted by several of her friends who are well-known in society. Her daughter stands beside her and is introduced to those of her mother's guests whom she has not already met.

The _debutante_ has her first partner selected for her by her mother.

She may not dance with one man more than once on the occasion of her introduction to society. But she is expected to dance every dance, returning to receive guests during the intervals. Sometimes the young _debutante_ has several of her chums receiving with her for the first half hour. She offers her hand to every guest who arrives, and introduces in turn the friends who are a.s.sisting her.

The father of the _debutante_ may receive with his wife, but his duty is more to see that all the women have partners, and that the chaperons are taken into supper. He also sees that the gentlemen do their duty as dancers instead of remaining in the dressing room to smoke and chat. The hostess does not dance at all, or if she does, it is usually late in the evening. She remains at her post at the door, welcoming guests and seeing that all shy men get partners and all the young girls have a good time. One paramount duty of the hostess is so to arrange her invitations that there will be very many more men than women; this eliminates the chance of there being any unhappy wallflowers. Another consideration is to arrange the chairs in informal little groups instead of close to the walls in a solemn and dreary line.

COSTUME b.a.l.l.s

The costume ball is conducted very much on the same order as the formal ball. The invitations are issued two or three weeks before the date set for the dance, and as for the _debut_ dance, the word _ball_ does not appear on it. Instead the words "Costumes of the Twelfth Century" or "Shakespearean Costumes" or whatever may be decided upon are printed in the lower left-hand corner of usual "at home" cards.

In selecting a fancy costume, one must be careful to choose only what is _individually_ becoming. It must be in perfect harmony with one's personality. To a.s.sume a character that is in every way opposed to one's own character is unwise and ungratifying. A sedate, quiet young miss should not choose a Folly Costume. Nor should a jolly, vivacious young lady elect to emulate Martha Washington. And furthermore, a character must not be merely dressed--it must be _lived_. The successful costume ball must be realistic.

SUBSCRIPTION DANCES

What is the purpose of the subscription dance? The question is a common one. And the answer is simple.

A subscription dance is given for the same reason that any other dance is given--to be surrounded by one's friends, to enjoy music and dancing, and generally to have a "good time." It is conducted very much on the order of the formal dance, except that it is semi-public and is usually held in a public hall. There is no host or hostess, of course; their place is held by an appointed committee or by the patronesses of the dance. They stand at the door of the ballroom to welcome guests, and they may either offer their hands or bow in greeting. It is the duty of the patronesses to introduce those of the guests who are not already acquainted.