Dramatic Technique Part 74

THE LEGACY (_See p. 464_)

THE SCENE: _The Brice living-room comfortably furnished in walnut. A piano centre L., a round table, rear R. Four entrances: upper L., rear centre, upper right, right centre. Curtained windows rear R. & L._

As has already been pointed out earlier in this book, it is wholly unwise to call, in a description of a setting, for details not really necessary. Here is the setting for the _dramatis personae_ quoted on p.

431. It is over-elaborate because the action of the proposed play involves use of hardly any of the properties called for.

SCENE: _Forsythe Savile's "den." It is an odd room, a curious mixture of library, smoking-room, and museum. On the right is a large fireplace, over which are hung an elk's head, a couple of rifles, queer-looking Eastern weapons, and other sporting trophies and evidences of travel. The room is panelled in dark oak; low bookcases line the walls, and on top of the cases are small bronzes, photographs, strange bits of bric-a-brac, and a medley of things,--such truck as a man with cultivated tastes would insist on acc.u.mulating. There are numerous pictures, a rather heterogeneous lot; valuable engravings,--portraits of famous lights of the bench and the bar, to judge by their wigs,--a few oils of the Meissonier type; and others which are obviously relics of college, with medals slung across them by brightly coloured ribbons. The furniture of the room is of heavy oak, upholstered in dull crimson leather. Capacious club armchairs are in convenient places, near lamps and books. Around the hearth is a high English fender, and before it is a great Davenport sofa. On the left, is a broad-topped table-desk, covered with papers and books, and bearing a squat bronze lamp with a crimson shade. At one end of the Davenport is a low cabinet, on which are gla.s.ses and decanters. There is a wide doorway at the back of the stage which gives the only entrance and is hung with heavy crimson portieres. The centre of the floor is filled by a huge polar bear-skin rug, with ma.s.sive head and the odd s.p.a.ces are covered by smaller fur rugs. The stage is dark, save for the uncertain, wavering light cast by the wood fire._

_Time: The present, and about half-past eight on a winter evening._

A sketch of the desired arrangement of the stage should be prefixed to the description of the setting. This may be as simple as comports with clear picturing of the exact conditions required. Such drawings not only help to clearness, they sometimes bring out difficulties in a proposed setting not at once evident in a description. Perhaps the staging called for in what immediately follows may not seem over-elaborate in the reading. A diagram at once shows its awkwardness, expensiveness, and undesirability.

THE SIRE DE MALETROIT'S DOOR

_The scene represents a mediaeval outer hall of a powerful n.o.bleman of Paris with the approach thereto, the streets adjacent and several other buildings thereon, at 11.30 P.M., the streets in semi-darkness.

This hall runs clear down the stage to within the width of a narrow street of the footlights. This street is supposed to run clear across the stage. The approach to the hall from without is through two doors left which open into a gloomy pa.s.sageway large enough to contain a dozen soldiers. The door to the left of these two entrances opens inward from the street running up left at right angles to the street by the footlights, leaving room enough at the extreme left for several doorways which should be set into the houses so as to form a place sufficient to hide a man who was being searched for on the sidewalk.

At the extreme rear of the street going up the stage is stone pavement. The walls of the palace are of thick stones and the furnishings of the hall are plain and gloomy consisting of chairs and a table, a tall clock with a loud tick, curtains at the doors; and over the fireplace, which is huge, hang a shield and helmet, the former emblazoned with the device of the family, the latter beplumed, while under them are two long swords, crossed, with their points hidden behind the shield, these blades both in their scabbards. The floors are all of stone._

_At the right of the fireplace are two wide doors which when opened give a full view of the chapel beyond, with the attar to the rear in the centre. The chapel need show no more than a private altar, the accompanying candles, drapery, and steps, lighted with a single hanging lamp of the period that swings before the first step of the altar._

_The chairs and table in the hall are of mission style. The doors opening on the street from all of the establishments are very wide, embossed in iron bands and supplied with knockers, heavy bolts and bars on the inside wherever the inside is exposed. There is a large fire in the fireplace. A lamp of the period is swung with heavy chains over the table._

The diagram on the next page shows how this would look.

[Ill.u.s.tration]

It is in many ways a bad setting. Waiving all question whether any attempt to suggest the fourth wall of a room, as in _The Pa.s.sing of the Third Floor Back_ by the fireplace at centre front of stage is wise, surely there can be no doubt that to ask an audience to imagine a street between them and the room into which they are looking, particularly when no necessary action takes place in that street, is undesirable.

Therefore the suggested "street" across the front of the stage may go.

Where is the value of the street at the side? Little, if any, action in it will be seen except by the very small part of the audience directly in line with it. For these the settings below the doors at stage left must be decidedly pushed back or they will lose important action by the fireplace. It is questionable, too, whether the fireplace should not be moved down stage to one side or the other, so important is the facial expression of the Sire de Maletroit as he sits by it. For effective action, it is better, also, to separate fireplace and chapel entrance. It is both easy and for acting purposes better, to stage this proposed play with a setting as simple as this:

[Ill.u.s.tration: _Gothic stone interior: Doors, centre leading to Chapel or Oratory; lower right and up left. All doors with old tapestry curtains. Deep mullioned window up right with landscape backing. Large Gothic fireplace, with hooded chimney, left. Corridor backings for all doors. Large armchair left centre in front of fireplace; large oak table right centre, with chairs on either side; other furniture of period to dress stage. Altar and furnishings for Chapel._]

Nowadays descriptions of settings are noticeably free from the mystic R.U.E., L. 2 E., D.L.C., etc., which characterized stage directions of the early Victorian period. When wings and flats, as in some wood-scenes today, were used for indoor as well as outdoor scenes--that is, before the coming of the box-set--the stage was divided in this way:

[Ill.u.s.tration]

Now that the box-set has replaced the older fashion and new devices are steadily improving on the old wood-wings, it is enough to indicate clearly in the diagram and in the description what doors, windows, fireplaces, and properties are necessary, and exactly where, if their positions are essential in the action. If not, they may be placed to suit the sense of proportion of the designer of the scenery and the sense of fitness of the producer. In any case, rarely today does an author need to use all or many of these stage divisions of an older day.

The first of the following diagrams shows how simply an interior set which makes no special demands may be indicated.

THE DANCING GIRL. ACT I[5]

_Diana Valrose's boudoir at Richmond. A very elegantly furnished room, with light, pretty furniture. Discover Drusilla in handsome morning dress arranging flowers in large china bowl. Enter footman, announcing Mr. Christison. Enter John. Exit Footman._

[Ill.u.s.tration]

It is often desirable to vary the usual shape given a room on the stage--exactly rectangular or nearly square. The next diagram shows a more complicated setting, of unusual shape.

THE WALLS OF JERICHO. ACT I[6]

_An ante-room in Marquis of Steventon's house during a ball. Miss Wyatt, a vivacious young American, has cake-walked with Twelvetrees all the way from the ball-room._

_Music under stage._

[Ill.u.s.tration]

Act II of _Young America_ calls for a setting in which the placing of heavy properties is important.

YOUNG AMERICA. ACT II[7]

SCENE. _The Juvenile Court, 10_ A.M._--Two days later._

_Two entrances, R. U. door leading to Judge's chamber. L.2 door leading to corridor._

_Right--Judge's bench. It extends up and down stage. Below it Clerk's bench upon which are two card catalogue filing cases for court records for children. At L. of Judge's bench small docket for prisoner. At L.

of docket, witness stand. It is an 18-inch platform with chair on it.

The docket and witness stand face front._

_Left--three benches for spectators and witnesses. They face front and are enclosed within a picket railing. Gate with spring lock, near left end of front railing_.

[Ill.u.s.tration]

How the setting for an outdoor scene may be indicated the diagram for Act I of _The Dancing Girl_ shows.

THE DANCING GIRL. ACT I[8]

_I. Call.

John Christison.

Faith Ives.

David Ives.

Drusilla Ives._

SCENE. _The Island of Saint Endellion, off the Cornish Coast. At the back is a line of low rocks, and beyond, the sea. A pathway leads through the rocks down to the sea. On the right side of the stage is the Quakers' meeting-house, a plain square granite building, showing a door and two windows. The meeting-house is built on a low insular rock that rises some three or four feet above the stage; it is approached by pathways, leading up from the stage. On the left side of the stage, down towards the audience, is David Ives's house; another plain granite building, with a door down stage, and above the door, a window. The house is built into a cliff that rises above it. Beyond the house is a pathway that leads up the cliff and disappears amongst the rocks on the left side towards the centre of the stage; a little to the right is a piece of rock rising about two feet from the stage._

_Time, An Autumn evening._

[Ill.u.s.tration]

As the chief purpose of the writer of a scenario is immediately to grip the interest of the reader, this dramatic outline must obviously provide any historical background necessary to sympathetic understanding of the story. In other words, a scenario must very briefly summarize the preliminary exposition about which so much has already been said in the body of this book.[9] The opening of the scenario, already quoted in part on p. 428, may be interesting, but it is also puzzling, for a reader is not told enough in regard to the past of the figures involved to know how to receive what information is given. Much depends on whether Denis de Beaulieu is lying or not. Make the reader somehow understand that Denis and Blanche have never met before and that although the uncle believes Denis is her lover, he is completely in the wrong. Then comedy immediately emerges, interest increases.

Here is a scenario which remained vague and confusing, till just before the final curtain, because the writer thought surprise more valuable than suspense. Consequently he held back the one bit of information which gives significance and comic value to the conduct of Mr. and Mrs.

Brede.