Entertainments for Home, Church and School Part 6

In another charade is seen a little toy wooden horse, such as can be bought for fifty cents. The spectators are told that this forms a word of two syllables, representing an island in the Aegean Sea. If the spectators are well up in ancient geography, they may possibly guess that Delos (deal hoss) is referred to. The curtain falls, and again rises on the same contemptible object, which is now stated to represent a second island in the same part of the world. The cla.s.sical reader will at once see that Samos (same hoss) is intended. Again the curtain rises on the representation of an island. Two little wooden horses now occupy the scene, Pharos (pair 'oss) being the island referred to.

Once more the curtain rises, this time on a group of charming damsels, each reclining in a woebegone att.i.tude, surrounded by pill boxes and physic bottles, and apparently suffering from some painful malady.

This scene represents a word of three syllables, and is stated to include all that has gone before. Cyclades (sick ladies), the name of the group to which Delos, Samos and Pharos belong, is of course the answer.

A comical charade is a performance representing the word "imitation."

The spectators are informed that the charade about to be performed can be exhibited to only one person at a time. One person is accordingly admitted into the room in which the actors are congregated. The unhappy wight stares about him with curiosity, not unmingled with apprehension, fearing to be made the victim of some practical joke; nor is his comfort increased by finding that his every look or action is faithfully copied by each person present. This continues until he has either guessed or given up the word, when a fresh victim is admitted, and the new initiate becomes in turn one of the actors. Sometimes, however, the victim manages to turn the laugh against his persecutors. We have known a young lady, seeing through the joke, quietly take a chair and remain motionless, reducing the matter to a simple trial of patience between herself and the company.

CHAPTER VIII

CHURCH AND SCHOOL SOCIALS

LIVING PICTURES--TABLEAUX: DIGNITY AND IMPUDENCE--SAILOR'S FAREWELL--HOME AGAIN--VARIOUS TABLEAUX

LIVING PICTURES

There are few better amus.e.m.e.nts for a large party in the same house, with plenty of time on their hands, than the organization of _tableaux vivants,_ or living representations. Tableaux, to be successfully represented, demand quite as much attention to detail as a theatrical performance, and scarcely less careful rehearsal. The first element of success is a competent stage manager. His artistic taste should be beyond all question, and his will should be law among the members of his corps. The essentials of a "living picture" are very much the same as those of a picture of the inanimate description, viz., form, color and arrangement. If, therefore, you can secure for the office of stage manager a gentleman of some artistic skill, by all means do so, as his technical knowledge will be found of the greatest possible service.

Before proceeding to plan your series of pictures, it will be necessary to provide the "frame" in which they are to be exhibited. If the room which you propose to use has folding doors, they will of course be used. A curtain, preferably of some dark color, should be hung on each side, and a lambrequin or valance across the top. Where circ.u.mstances admit, the directions we give elsewhere as to the construction of a stage and proscenium for private theatricals may be followed with advantage. In any case, a piece of fine gauze should be carefully stretched over the whole length and depth of the opening. This is found, by producing softer outlines, materially to enhance the pictorial effect. If it is practicable to have a raised stage, it will be found of great addition. Where this cannot be arranged, it is well to place a board, six inches in width, and covered with the same material as the rest of the frame, across the floor (on edge) from side to side, in the position which the footlights would ordinarily occupy.

The next consideration will be the curtain. The ordinary domestic curtains, hung by rings from a rod or pole, and opening in the middle, will serve as a makeshift; but where a really artistic series of tableaux is contemplated, the regular stage curtain of green baize is decidedly to be preferred.

The question of "background" will be the next point to be considered.

_Tableaux vivants_ may be divided into two cla.s.ses, the dramatic, i.e., representing some incident, e.g., a duel, or a trial in a court of justice, and the simply artistic, viz., such as portray merely a group, allegorical or otherwise, without reference to any particular plot or story. For the former, an appropriate scene is required, varying with each tableau represented; for the latter, all that is necessary is a simple background of drapery, of such a tone of color as to harmonize with, and yet to give full prominence to, the group of actors. The material of the latter as also the covering of the floor, should be of woolen or velvet, so as to absorb rather than reflect light. A l.u.s.trous background, as of satin or glazed calico, will completely destroy the effect of an otherwise effective tableau.

The lighting is a point of very considerable importance--the conditions appropriate to an ordinary theatrical performance being here reversed.

In an ordinary dramatic performance all shadow is a thing to be avoided, the point aimed at being to secure a strong bright light, uniformly distributed over the stage. In a _tableau vivant_, on the contrary, the skillful manipulation of light and shade is a valuable aid in producing artistic effect. Footlights should, in this case, either be dispensed with altogether or at any rate used very sparingly, the stronger light coming from one or the other side. A good deal of experiment and some little artistic taste will be necessary to attain the right balance in this particular. Where gas is available it will afford the readiest means of illumination. What is called a "string light," viz., a piece of gaspipe with fishtail burners at frequent intervals, connected with the permanent gas arrangements of the house by a piece of india rubber tube, and fixed in a vertical position behind each side of the temporary proscenium, will be found very effective; one or the other set of lights being turned up, as may be necessary. Where a green or red light is desired, the interposition of a strip of gla.s.s of that color, or of a "medium" of red or green silk or tammy, will give the necessary tone. Colored fires are supplied for the same purpose, but are subject to the drawback of being somewhat odoriferous in combustion. Where, as is sometimes the case, a strong white light is required, this may be produced by burning the end of a piece of magnesium wire in the flame of an ordinary candle.

These points being disposed of, costume and make-up will be the next consideration. As to the latter, the reader will find full instructions in the chapter devoted to private theatricals. With respect to costume, as the characters are seen for only a few moments, and in one position, this point may be dealt with in a much more rough-and-ready manner than would be advisable in the case of a regular dramatic performance.

The royal crown need only be golden, the royal robe need only be trimmed with ermine-on the side toward the spectators; indeed, the proudest of sovereigns, from the audience point of view, may, as seen from the rear, be the humblest of citizens. Even on the side toward the spectators a great deal of "make believe" is admissible. Seen through the intervening gauze, the cheapest cotton velvet is equal to the richest silk; glazed calico takes the place of satin; and even the royal ermine may be admirably simulated by tails of black worsted st.i.tched on a ground of flannel. Lace may be manufactured from cut paper, and a dollar's worth of tinsel will afford jewels for a congress of sovereigns. Of course, there is not the least objection to his wearing a crown of the purest gold, or diamonds of the finest possible water (if he can get them), but they will not look one whit more effective than the homely subst.i.tutes we have mentioned.

A "ghost effect" may, where necessary, be produced by the aid of a magic lantern; the other lights of the tableau being lowered in order to give sufficient distinctness to the reflection.

Dramatic tableaux may often be exhibited with advantage in two or more "scenes"; the curtain being lowered for a moment in order to enable the characters to a.s.sume a fresh position. Examples of this will be found among the tableaux which follow.

Having indicated the general arrangements of _tableaux vivants_, we append, for the reader's a.s.sistance, a selection of effective subjects, both simply pictorial and dramatic.

I. DIGNITY AND IMPUDENCE.

(With background of plain drapery, remaining unchanged.)

A magnificent flunkey, in a gorgeous suit of livery, standing, with left hand on hip, right hand in breast, side by side with a very small and saucy "boy in b.u.t.tons," upon whom he looks down superciliously.

Boy with both hands in trouser pockets and gazing up at his companion with an expression of impertinent familiarity.

II. THE FORTUNE-TELLER

A pretty girl, in simple outdoor costume, standing sideways to the spectators, with downcast eyes and a half-smiling, half-frightened expression. The fortune-teller faces her and holds the young lady's right hand in her left, while her own right hand holds a coin with which she is apparently tracing the lines of the young lady's palm, at the same time gazing with an arch expression into her face, as though to note the effect of her predictions. The fortune-teller should be in gipsy costume, a short, dark skirt and a hood of some brighter material thrown carelessly over her head. She should be of a swarthy complexion, with a good deal of color and jet-black hair.

III. FAITH

A large cross, apparently of white marble (really of deal, well washed with whitening and size) occupies a diagonal position across the center of the stage, facing slightly toward the left. Its base or plinth is formed of two or three successive platforms or steps of the same material. At the foot a woman kneels, clasping her arms around the cross, as though she had just thrown herself into that position in escaping from some danger. Her gaze should be directed upward. A loose brown robe and hood, the latter thrown back off the head, will be the most appropriate costume. Magnesium light from above.

IV. HOPE

A female figure, clothed in sober gray, and seated on a very low stool, facing right and gazing heavenward. (If a "sky" background is procurable, a single star should be visible, and should be the object of her gaze.) Her right elbow rests upon her right knee, and her right hand supports her chin. Her left hand hangs by her side, and at her feet lies the emblematic anchor. Red light, not too strong.

V. CHARITY

A ragged boy, barefooted and clasping a wornout broom, sits huddled on the ground left, but facing right. His arms are folded and rest on his knees, and his head is bent down upon them, so as to hide his face.

A girl, in nun's costume, is touching him on the shoulder, and apparently proffering help and sympathy.

VI. SINGLE LIFE

Scene, a tolerably well-furnished but untidy sitting-room, with numerous traces of bachelor occupation, such as crossed foils on the wall, a set of boxing-gloves under a side table, boots, hats and walking-sticks lying about in various directions. On one corner of the table some one has apparently breakfasted in rather higgledy-piggledy fashion. Near the table sits a young man, with a short pipe in his mouth and one foot bare, while he is endeavoring to darn an extremely dilapidated sock.

VII. THE SAILOR'S FAREWELL

Scene, a cottage home. A young man, in sailor costume and with a bundle on his shoulder, stands with his right hand on the latch of the door, right center, but looking back with a sorrowful expression at his wife--personated by a young lady in short black or blue skirt, red or white blouse, and white mob-cap--who sits with her ap.r.o.n up to her eyes in an apparent agony of grief. Three children are present, the two elder crying for sympathy, the youngest sitting in a crib or cradle and amusing himself with some toy, in apparent unconsciousness of his father's approaching departure. Soft blue light from left. Music, "The Minstrel Boy."

VIII. HOME AGAIN.

The same scene. Children a couple of years older. (This may be effected by suppressing the youngest and introducing a fresh eldest, as much like the others as possible.) The sailor of the last scene, slightly more tanned, and with a fuller "made-up" beard, has apparently just entered. The wife has both arms round his neck, her face being hidden in his bosom. Of the children, the eldest has seized and is kissing her father's hand, while the two younger each cling round one leg.

Soft red light. Music, "A La.s.s that Loves a Sailor," or "When Johnny Comes Marching Home Again."

VARIOUS TABLEAUX

We subjoin a list of favorite subjects, leaving their actual arrangement to the taste and intelligence of the reader. It will usually be safe to follow the hints in good ill.u.s.trations.

"Choosing the Wedding Gown." A charming scene after Mulready, from the "Vicar of Wakefield."

"William Penn Signing the Treaty with the Indians."

"The Drunkard's Home," "Signing the Pledge," "The Temperance Home."

See some good ill.u.s.trations.

"Mary Queen of Scots and the Four Maries."

"Mr. Pecksniff Dismissing Tom Pinch."

"The Song of the Shirt."

"Little Red Riding-Hood."

"The Duel from the 'Corsican Brothers.'"

"Heloise in Her Cell."