Home Pastimes; or Tableaux Vivants Part 16

Two Female and Eight Male Figures.

This tableau represents a travelling party attacked on the mountains of Italy by a company of outlaws. It is one which can be easily formed, and contains ten figures, five of which are men dressed to represent banditti; the other personations are an old gentleman, his daughter, a young officer and wife, and coachman. The floor of the stage should rise gradually from the fore to the background. This can be accomplished with boxes and boards covered with green bocking. The bandit's costume consists of a dark coat, open in front, showing a colored shirt, breeches of bright-colored cloth, white hose, knee and shoe buckles, low shoes, red scarf about the waist, in which are pistols and short sword, black felt hat, slouched, with a red band and colored plume; heavy beard, face and neck slightly stained light-brown; the coats can be trimmed with gaudy binding, if desirable. The old gentleman's costume consists of black coat, light pants and vest, light cravat, white wig, light hat, face painted to imitate age. The officer's dress can be quite showy or very plain. If a full military costume cannot be procured, the following will answer: Dark frock coat, b.u.t.toned to the neck, and ornamented with large gilt b.u.t.tons and shoulder straps, black pants with buff stripe, flat cap with gilt band, side arms and sash. The officer's wife is dressed in a showy silk robe; hair arranged to suit the performer's taste. The old man's daughter is costumed in a white dress, pink silk ap.r.o.n, small straw hat trimmed with green ribbon. Coachman's costume is, a long, dark coat, b.u.t.toned to the chin, light pants, long boots, black silk hat, with a leather strap and a number in gold in front, black belt around the waist, the right hand grasping a long whip. A representation of the side of a coach, covered with cloth painted in proper style, and placed in the background, will add much to the effect. In the centre of the stage place a large trunk filled with clothing, the cover thrown back so as to display the contents.

Watches, jewelry, and other articles of value should be strown promiscuously about, while one of the bandits is seen kneeling over it with a heavy watch and chain in his hand. Back of the trunk stand the officer and a brigand. The officer has a large wound across the temple, and attempts to rescue his wife, who is being dragged away by one of the brigands in the background; he stretches out his arms towards, and looks upon her, but is kept from her by the strong arm of the ruffian at his side, who grasps him by the collar, and holds a b.l.o.o.d.y sword above his head; the brigand partially faces the audience; the officer stands in a side position; the wife is seen kneeling in the background, with hands clasped and eyes raised to a brigand, who grasps her by the hair of the head with the left hand, and presents a pistol at her with the right. At the left of the trunk is seen the old gentleman. One of the ruffians grasps him by the throat, as if in the act of strangling him. The old man holds a watch in the left hand; the right is thrown upward. His position is, facing the audience; countenance expressing terror and excitement. At the right of the trunk kneels the coachman, with hands tied behind his back, which is turned to the audience, head thrown backward so that a partial side view is had of the features. A few paces in front of him, and facing the audience, is seated a brigand, on the top of a portmanteau; he is smoking a short pipe, and with the right hand points a pistol to the face of the figure kneeling in front of him. Between him and the wife lies the young girl, who has fainted from affright. She lies with her head to the back of the stage, arms stretched out on the gra.s.s, and eyes closed. The stage should be illuminated by brilliant lights placed at the left side of the stage. The sound of rain and thunder may be produced in the ante-rooms with good effect.

PORTRAIT OF LOUIS NAPOLEON.

One Male Figure.

This portrait-tableau is produced in the same manner as that of "Gabrielle." The gentleman who personates Louis Napoleon should in form and features resemble him. The costume consists of a blue velvet coat, decorated with silver and gold lace, vest of the same material, buff breeches, white hose, low shoes, knee and shoe buckles, gold epaulets and side arms, a decoration on the left breast composed of brilliant stones and spangles, a red and blue silk sash across the breast. Louis Napoleon wears a long beard and heavy mustache. Position is such as to display a partial front view of the body, right hand placed on the hilt of his sword, eyes directed forward, countenance calm. Light should come from the front of the stage, and be of medium brilliancy. Music, Ma.r.s.eillaise Hymn.

THE RETURN FROM THE VINTAGE.

It is the Rhine! our mountain vineyards laving; I see the bright flood shine; Sing on the march, with every banner waving, Sing, brothers; 'tis the Rhine!

Home, home! thy glad wave hath a tone of greeting, Thy path is by my home; Even now my children count the hours, till meeting; O, ransomed ones, I come.

MRS. HEMANS.

One Female and Four Male Figures.

This picture represents four laborers returning from the vintage, bearing on their shoulders a large tub of grapes, seated on the top of which is a young girl, and by her side a small child. As they near the sh.o.r.es of the imperial river, they sing one of their national songs, the girl accompanying with a tambourine, and the child with a flute.

The costume of the four vintagers consists of colored or check shirts, breeches, long hose, low shoes, knee and shoe buckles, single-breasted vest of bright colors, left open, handkerchief tied carelessly about the neck, and low felt hat with a sprig of grape leaves in front, the face colored slightly with red. The lady's costume consists of a red dress, blue waist, open in front, and laced across with pink ribbon, and a small straw hat trimmed with green ribbon on the head. The boy's costume consists of a velvet jacket, white pants, and small fancy cap.

The four vintagers stand in a circle, on a round or square pedestal four feet in diameter, covered with green bocking; they face outward, and support the tub on their shoulders; one hand is raised, and grasps the top of the tub, while the other hangs carelessly at the side. A tall box should be placed under the tub, which will relieve the laborers from the weight. The vintagers look up to the lady, the countenance expressing pleasure. The young lady who is seated on the tub holds the tambourine in her left hand, which is raised above her head; the right hand is raised as high as the face, the head thrown back slightly, eyes lifted, body facing the audience. The boy has the end of the flute or trumpet placed in his mouth; both hands grasp the flute; eyes directed forward. The tub should be three feet wide, and the outside and rim painted in imitation of grapes and leaves. Light will be needed in front and at the left side. Music of an inspiring order.

LOVERS GOING TO THE WELL.

How dear to my heart are the scenes of my childhood, When fond recollection presents them to view; The orchard, the meadow, the deep-tangled wildwood, And every loved spot which my infancy knew; The wide-spreading pond, and the mill that stood by it, The bridge, and the rock where the cataract fell, The cot of my fathers, the dairy house nigh it, And e'en the rude bucket which hung in the well; The old oaken bucket, the iron-bound bucket, The moss-covered bucket, which hung in the well.

One Male and One Female Figure.

This tableau represents a young peasant girl and her lover going to the well. It is a statuary design, and, when well executed, makes a tableau of great beauty. The lady and gentleman who take part in this group must be of the same height, of slim figure, and good features; the gentleman should be without a beard. In the centre of the stage place a round pedestal one foot high, three feet in diameter, and covered with black marble paper. The gentleman's costume consists of a white coat, breeches, hose, shoes, cravat, vest, gloves, hat and collar, and a long gauze scarf, worn over the shoulder, tied at the side, the ends hanging down to the knee, the hat placed jantily on the side of the head. The lady's costume consists of a white dress, worn with but few skirts, and cut low at the top, sleeves long and flowing; a long gauze scarf worn over the shoulders, tied at the side, the ends allowed to trail on the floor; white hose, shoes, gloves, and white felt hat worn carelessly on the head; the exposed parts of both figures made as white as possible. Both stand near the centre of the pedestal, the gentleman's right hand placed across the lady's shoulder; his left hangs carelessly at the side, and grasps a white water pitcher, his right foot placed twenty inches in advance of the left, the toe of the left just touching the pedestal, and the body inclined forward slightly; his head is turned towards the lady, into whose eyes he is looking, while the countenance expresses pleasure.

The lady's right hand holds a pitcher similar in shape to the one held by the gentleman. Her left is raised near her bosom, the forefinger pointed to some object in the distance. Her head is turned towards the gentleman, eyes looking into his, and countenance expressing earnestness, her feet and body in the same position as the gentleman's. The front of the stage, if covered with thin white gauze, will add to the beauty of the piece. The light should come from the left side of the stage, and be of a medium brightness. Music soft and plaintive.

THE ITALIAN FLOWER VASE.

O Attic shape! Fair att.i.tude! With brede Of marble men and maidens overwrought With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought, As doth eternity. Cold Pastoral!

When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours; a friend to man, to whom thou say'st, "Beauty is truth, truth beauty"--that is all Ye know on earth, and all ye need to know.

KEATS'S "ODE ON A GRECIAN URN."

Three Female Figures.

This exquisite statue tableau represents a beautiful vase, the sides of which are ornamented with statues, personifying Spring, Summer, and Autumn. The vase is made to revolve by machinery. Three ladies of good figure and features, and of equal height, are required, to fill out the design. Their costumes consist of long white muslin robes, worn with few under skirts, cut low at the neck, sleeves reaching to the elbow, and flowing, white hose and slippers; hair combed up from the forehead, clasped with a band of silver behind, and allowed to hang in heavy curls in the neck; a string of small wax or spar beads entwined about the top of the head, the ends trailing among the curls; a bouquet of white flowers placed on the front of the waist, and a white rose fastened to the front of the spar wreath which adorns the head; the exposed portions of the body made as white as possible.

The stage machinery is constructed in the following manner: After arranging the revolving beam beneath the stage, (described in the "Bust of Proserpine,") the base of the vase should be fastened to the top of the shaft which protrudes through the floor, and fastened so firmly that the weight of the three females will not impede the revolutions. It must also be constructed so that it can be easily shipped and unshipped. The base is of octagon form, two feet in diameter, one foot thick, and ornamented with small scrolls around the sides, the whole to be covered with white cloth, and decorated with artificial or painted wreaths and festoons of flowers. On the top of the base there must be a box one foot high, and five inches square, fastened firmly to the main body with iron braces; this is for the insertion of the shaft of the vase, which is made of joist, four inches square, six feet in length, and painted white. The top or bowl of the vase should be made in the form of a saucer; the material used in its composition must be light; its dimensions, four feet in diameter, with a square cavity in the centre, in which to place the shaft; cover the exterior with white cloth; around the top paint a wreath of large flowers, and from the centre to the rim paint other festoons of smaller flowers four inches apart; around the cavity where the shaft enters, place three pieces of wood, made and painted to resemble large leaves, the size of which should be seven inches in length by five in width. The vase can be made in one piece, if there is sufficient room for the accommodation of so large a piece of furniture. But for a small stage it will be better to have it in three parts. The ladies stand on the base of the vase, with their backs against the shaft, the top of the head just touching the bottom of the large leaves, the head and body perfectly erect, the hands of the three clasped at the side, and holding the ends of festoons of colored flowers, eyes slightly raised, countenance calm and pleasant.

The festoons must run from the hands of the statues to the shaft, fastened there, and pa.s.s down to the other hand, and so on around the three figures. The vase should revolve quite slowly, and be put in motion while the curtain is rising. Gauze before this piece will add to the effect. The light must come from the left side of the stage, and be of medium brilliancy. Music soft and plaintive.

PORTRAIT OF THE MADONNA.

They haunt me still--those calm, pure, holy eyes; Their piercing sweetness wanders through my dreams: The soul of music that within them lies, Comes o'er my soul in soft and sudden gleams.

Are there not deep, sad oracles to read In the calm stillness of that radiant face?

Yes, even like thee must gifted spirits bleed, Thrown on a world, for heavenly things no place.

One Female Figure.

This portrait tableau is produced in the same manner as that of "Gabrielle." The lady who personates the Madonna should be of good figure, fine, regular features, eyes large and expressive, a full face and dark hair. Costume consists of white dress open slightly in front, sleeves long and flowing, a velvet cape thrown negligently over the shoulders, a large cross suspended from the neck by a necklace of wax beads, the hair puffed slightly at the side, and arranged in a neat coil at the back, and a large braid pa.s.sed across the top of the head.

She should partially face the audience, the head slightly inclined forward, eyes cast upward, hands clasped in front of the breast, and lips partly open, the countenance expressing earnestness and meekness.

Light will be required at the front of the stage, and must be of medium brilliancy. Music of a sacred and plaintive style.

THE SHOEMAKER IN LOVE.

Love's feeling is more soft and sensible Than are the tender horns of c.o.c.kled snails.

SHAKSPEARE.

One Male and Two Female Figures.

This is a comic tableau, and represents a pretty young lady at a country shoemaker's shop, in the act of having her foot measured for a pair of shoes. The lady stands in the centre of the stage, and rests her unslippered foot on a small box, while the knight of the lapstone and hammer is engaged in taking the measure of her foot. While occupied in this duty, he is suddenly smitten, either with her pretty face or small foot, and instead of proceeding with his task, he stops and looks up with a pleasant smile into the face of his fair customer.

In the background, peeping out from behind a screen, is the shoemaker's wife, with a broomstick in her hand. The scenery consists of a wooden screen, covered with cloth, extending half way across the centre of the stage, on which is painted, in large letters, the name "Ebenezer Heeltap." Shelves of boots, shoes, shoemaker's tools, and other articles, should also be painted on the screen. In the foreground place a shoemaker's bench, and a few shoes, partly worn out, scattered on the floor. The young lady's costume consists of a blue silk dress, crimson shawl, white bonnet, and sunshade. Position is, standing at the side of the stage, showing a side view of the body, one foot resting on a box, both hands grasping her dress, which she draws up sufficiently high to display her foot and ankle, body bent forward, and eyes fixed on her foot. The shoemaker kneels on the floor opposite to her, holding a strap in one hand, the other resting on the box, the head thrown back, and eyes cast upward to the face of the lady. Costume consists of a suit of coa.r.s.e material, sleeves rolled up to the elbow, leather ap.r.o.n tied about the waist, paper cap on the head, red or gray wig, and s.h.a.ggy beard. The old lady's costume consists of a cheap calico dress, white ruffled cap, white handkerchief tied about the neck, and spectacles on the nose. The light must come from the right side of the stage, and be of medium brilliancy. Music of a secular order.