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Suite (G. Henschel) - piano duet, arranged by Battison

$3.75 Incidental Music for violin and piano (B. Tours).


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Costumes. Italian. Elizabethan may be substituted.

Prospero carries a wand; he also assumes a mantel made of tarlatan when he is supposed to become invisible. Ariel wears a gauzy cloak of the same material, which he draws up over his shoulders when he is not to be seen.

Realistic Stage. I, IV, and V. Back drop of rugged scenery,* with sea L. The right hand side of the stage may have a painted canvas structure built on it to represent the mouth of Prospero's

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II and III. Drop pictures of another part, or of other parts, of the island.

However, the whole playlet may be staged upon the same part of the island, if necessary, by throwing different parts of the scene into shadow and changing the lights, so that difference in atmosphere will be felt.

IV will be more effective with a hedge,* a little higher than waist high, running across the stage. This may be considered a magic creation of Prospero's, on which the garments used as a trap for Stephano, Trinculo, and Caliban can be displayed, and behind cover of which the spirits in “strange shapes” may hunt the thieves from the stage invisible to the audience.

Lighting. The first scene should be nearly dark, and only flickeringly lighted at all. Prospero and Miranda can be seen against the rock, and the vision of a ship, L., riding on the waves. Reflectoscoped pictures of a ship in successive stages of distress may be the source of this effect, the substitution of one picture for another being effected during seconds of darkness. If the reflectoscope is wired with the same lighting circuit as the blue lights for this scene, the substitutions will be easily made, since the illusion will disappear every time the lights go off. The ship may be rocked and tipped, as if by the tempest, and should be withdrawn just after Prospero


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speaks the opening lines of the playlet. From this point on the stage should become lighter.

If the vision of the ship seems too difficult, all representation of it may be omitted, nothing but the illusion of the storm being absolutely necessary to the stage business.

For the first scene it may be well to remember that an effect of distance and mystery may be added to any painted curtain picture or other scenic representation if a drop curtain of gray or black gauze be interposed between the scene and the audience. Extra lighting, however, is necessary, preferably from above between the gauze and the picture, since the gauze will be readily discernible from the audience unless there is light behind it. However, the gauze curtain should be raised soon after Prospero begins to speak.

Simpler Stages. For the curtain stage, the suggestion of the jagged opening of the mouth of Prospero's cave may be made by pinning the top of a rectangular opening at the back into a jagged line and modifying the sides in the same fashion.

Elizabethan Stage. In Shakespeare's time the entire inner stage may have been reserved for the representation of Prospero's cave or cell in the rock, or there may have been a smaller space at the rear of the inner stage curtained off with a second arras or curtain. The balcony was used freely both in the representation of a scene on board the ship and for the airy regions. A kind of swinglike elevator suspended from the roof of the theatre was utilized by Ariel for his flights from the balcony to the fore stage.

The outer scene may have been localized by the representation of a huge rock, and figures of trees on the arras or curtain may have suggested the grove that protected the mouth of Prospero's cell. We know that the curtains were sometimes figured, and an appropriately painted or figured arras may have been the forerunner of our modern scenic drop curtain.

Ariel may make his appearances from the inner stage C. instead of from a balcony.

Music. A book of songs for The Tempest can be had from H. W. Gray Co. (arranged by Dr. R. Dustan) for $ .50, and another book from French for $1.20.

Incidental music, from H. W. Gray Co.:

Overture - piano duet (Arthur Sullivan).
Prelude piano duet (Sullivan)....
Three dances — piano solo (Sullivan)..

violin and piano (Sullivan)..
Prospero concert overture piano solo (F. Corder).

piano duet (Corder). Where the bee sucks unison song (Arne). ....

string parts for above, each..
part song (Arne) arranged.


1.25 1.50

2.25 ... 1.50


.08 .15 .08



Costumes. Italian and Spanish. Elizabethan may be substituted.

Benedick must wear a handsome Van Dyke or perhaps a somewhat bushier beard and mustache in the first act.

Realistic Stage. For all of the playlet, except III the scene will be a garden behind Leonato’s house. Trellises of vines, * painted on screens, may be arranged in about the following disposition:

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The back of the stage may be either a house* or a garden wall,* or both, the arrangement used in Bottom III.

III. The front wall of a church interior. *

Lighting. Evening should be suggested for the second episode of Act I and the third episode of Act II. For the other scenes, slighter contrasts in lighting, as suggested by the synopsis, may be made.

Simpler Stages. At least one screen on either side of the garden walk will be necessary, since this is a play in which a number of the

characters must conceal themselves. On a curtain stage, a rectangular entrance should be left open C.

Elizabethan Stage. The full stage may be used for all scenes except III, which may be confined to the outer stage. A small recess at the rear of the inner stage may have been curtained off in Shakespeare's time with a figured arras for the honeysuckle bower in which Beatrice hid.

Music. For the second episode of I there should be lively tinkling music before the curtain goes up, in order to suggest the ball Leonato is extending to his visitors. The music suddenly stops when Don John is revealed, but resumes again after he is gone, and except at intervals, when the conversation is serious, grows more brilliant until the second appearance of Don John, when it ceases. Slight snatches of incidental music may be interspersed through other merry parts of the playlet.

A book of songs for Much Ado about Nothing may be had from French for $ .72.

Incidental music H. W. Gray Co.: Overture piano duet (E. German).

$2.25 Selection of themes piano solo (E. German)..

1.50 Song, Sigh no more, ladies part song, S. S. A. T. B. (Stevens) .08

– trio, S. A. B. or S. S. A. (Stevens) .08

TWELFTH NIGHT Costumes. Use Elizabethan; the general atmosphere of the portion of the play used for this playlet is English. Feste may wear a fool's motley suit, or he may be in carnival attire.

Realistic Stage. The scene remains the same throughout the playlet - a garden in front of a drop picture or set of a house, in which there is a small grated basement window, behind which Malvolio is imprisoned (IV, ii). Representations of trellised vines* may be distributed about as shown on the opposite page.

The characters will conceal themselves, when hiding, in front of the trellises, so that they may be seen by the audience, though hidden from the characters on the stage.

Lighting. The time of day for each episode is given in the synopsis of the playlet. IV, ii takes place at dusk.

Simpler Stages. At least a screen on both sides of the stage will be necessary for the characters to hide in front of. On a curtain stage, the basement window may be suggested by pinning up the bottom of one of the widths at the back to a height of about 18

Front of Stage

inches. This opening should not show for any of the other episodes. A rectangular entrance should be left open in the back curtain — probably at the center.

Elizabethan Stage. A bench covered with gray cloth may be left on the outer stage throughout the play.

I, outer stage; II, inner stage; III, outer stage; IV, i, inner stage, with Sir Toby and Fabian hiding upon the outer stage; i, outer stage, with Malvolio imprisoned behind the curtains, which are parted slightly so that Malvolio may be seen within but not so that he may see much of the outer stage; V, inner stage.

Music. A book of the songs for Twelfth Night may be had from French for $ .72.

MACBETH Costumes. Scottish, 1040–57 A.D. Probably the best representation would be costumes from the first chapter of Calthrop.

Realistic Stage.
I. A lonely heath, with stretches of peat and furze.
II. Within the courtyard of a castle.
III, i. A royal hall.*

III., ii. A second hall.* This drop picture should be farthest back on the stage, and the space immediately in front of it should be set with a table and chairs. Drape the chairs.

IV. A cave,* within the opening of which, through thinner

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