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2. shows and events
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DE
HOW
WITT'S
TO
AMATEUR
SHOWING
DRAWING
AND
THE
EASIEST WAT
GIVING
SCBNBRT,
ATTENDING
THEAT.BIGALS.
PLAIN
DIBECTIONS
UP
OBTTmG
MAKING
WITT,
No.
THE
WIGS,
TACHES,
MUS-
BEARDS.
AND
DE
GlYINQ
UP
ADAPTING
NEW
FOR
DRESSES,
BBHEAB8ALS,
PBOPEBLT
ARRANGING
FOR
PERFORMANCES;
ROOM
AND
MAKING
MANAGE
YORK
:
PUBLISHER,
33
Rose
Street.
"""
Copyright,1880,by
A
T. B. De
Witt.
OUT
FACE,
PABTS,
COLLEGE
ARVARD
LIBRAIW
FROM
OF
BEQUEST
THE
WENDELL
JANSEN
EVERT
1918
CONTENTS
OF
TO
HOW
MANAGE
AMATEUR
THEATRICALS.
PAOK
Prefatory Remarks
to Select
Pieces
What
to Choose
How
aud
Scenery,
a
Company
bow
to make
aud
Manager
Dresses
Duties
his
Dressing
and
his Duties
and
Prompter
Illusions
and
Effects
Scenic
It
Elocution
of
Memoranda
List
of
Things
worth
Drunkards
3
Hebrews
46
4
Indian
German
12
French
(PUte)
48
17
Negro
(Plate)
48
19
Scotch
aud
Mulatto
47
Spanish
21
Irish
49
(Plate)
49
(Plate)
American
60
(Plate)
61
Sickly Complexions
24
Countrymen,
3
24
Clowns
4
24
To
6
2}
Teeth
6
26
7
27
8
27
Hamlet's
12
27
Advice
MuKlcal
Plays
Dramas.
Plays
Ethiopian
for
......
of Articles
Manhood
(Plate)
"
Death
Attitude
to Players
69
Goethe
60
Poet
61
63
63
Lucius
on
the
dy
Stu64
of Elocution
Manual
How
the
(Plate)
Aged
A
for the
to prepare
on
Paints
Grease
for using
Patting
64
of Terms
Explanation
37
44
Booth
Junius
86
acters
Char-
62
Arms
Characters
(Plate)
64
Rehearsals
and
43
Comedy
.
65
Movements
and
Age rPlate)
Low
Eyebrows
and
Advice
of the
A Youthful
and
.
Suggestions
Early Manhood
Eccentric
63
meagre
64
Whiskers,Mustache
Valuable
89
(Plate)
appear
Mouth
41
Elderly Ladies
Old
and
Hands
36
Maturity (Phite)
Limbs
make
Gesticulations
34
(Plate)
Youth
62
62
83
needed
Sailors,etc
29
teurs
Ama-
Book
Make-up
61
28
30
List
46
(Plate)
20
28
(Plate)
(Plate)
Plays for 2 Performers
Witt's
45
(Plate)
22
Temperance
The
(Plate)
4
bering
remem-
13
De
PAOS
3
Make-up..
66
Wig
67
Face
of Mature
65
66
69
Age
Characters
ealloWfdeftthlikeAppearance..
70
70
71
DE
"WITTS
HOW TO MAMGE
PBEFATOBT
Almost
have
often
but
to
deterred
are
difficulties
steps
in this
requisite
a
Room
Drawing
promoting
and
actual
there
the
hope
we
book
be
to
in
"
are
in
in
these
stood.
under-
all the
essary
nec-
and
properly
to
Rooms
Drawing
many
they
them
make
order
so
once
fiillyexplain
to
taken
to
Plays,
But
way.
easily sunnounted,
performance
Dramatic
entertaining
All
as
think
they
ances)"
acquaint-
Room
Drawing
up
be
to
(mutual
"
of
even
dimensions.
moderate
in
"
get
understood
effectivelyproduce
families
difficulties
intention
our
of
because
found
are
properly
It is
desire
a
BEMABKS.
group
insurmountable
almost
are
little
every
THEITRKAIS.
MTEIR
the
advice
the
; but
easy
a
decided
very
manner,
only
not
are
have
they
graceful and
a
in
Peformances
both
effect
the
in
ceedingly
ex-
formers
per-
audience.
in
given
No
experience.
this
work
visionary
will
be
theoretical
the
result
of
will
be
ideas
aired.
WHAT
Short
one
afford
members
abilities.
act
a
of the
variety
compa.ny
are
of
a
SELECT.
TO
Comedies
characters,
half-a-dozen
pieces
two
or
PIECES
Farces, containing
or
the
best
plays
styles
of
acting,
chance
to
to
and
display
about
select.
Such
give
several
their
different
HOW
4
Five
be
TO
act
AMATEUR
MANAGE
Comedies
attempted.
They require so
and
THEATRICALS.
Tragediesshould
rarely,if
ever
to act
good performers,accustomed
are
together; the costumes
mostly expensive; and the
often cumbrous
scenic effects (ofthe present time) are
and
costly. While one part being ineffectively
played will turn
the whole pieceinto an involuntaryburlesque.
There are a few little Comedies, fullof sparklingwit,pure
in conception and
expression,which only require two
or
three persons to perform them.
lent
They will be found excelextensive
piecesto precede or follow the more
play of
the evening.
many
HOW
Almost
every
A
OOMPAJ^T.
more
or
CH008B
TO
individual
has
less dramatic
fecul-
covered
perhaps lying dormant ; but which will be readilydisand
Tlje
by an observant
intelligent
manager.
greatest trouble in givingout parts arises from the fact that
The
know
themselves."
few persons
youth who fancies
make a splendidClaude Melnotte would
that he would
very
fill
and
that
romantic
audience
an
with
likely
spoil
personage,
Mawworm
or
disgust; yet he might make a capital
ToodleSj
the house by his grimaces. The chosen son
and bring down
ties ;
"
of Momus
"
^the elder Matthews
tragedian;
exceUence
"
would
"
fancied that he
while the great Booth
sometimes
character, that any clown
insist on
could have
was
an
mirable
ad-
tragedianpar
playinga low comedy
done
a
"
as
well.
Shakespeare has it, All the world's a stage, and
and women
all the men
merely actors,"it follows logically
that where a dozen or so of young
gether,
people are brought tofrom
them can
probably be selected the
among
The principal
difficulty
making of a fair dramatic company.
of each person with a character suited to
rests in the fitting
his or her natural or acquiredabilities.
"
If,as
SCEITEEY,
It is
the
of
a
AKD
HOW
TO
MAKE
IT.
Theatrical Journal
that
trulysaid by the Amateur
need of appropriateScenery for the proper performance
play,cannot be too stronglyurged upon every one con-
HOW
templating any
that
MANAGE
TO
excellent
AMATEUR
dramatic
It is rather
the bare
walls of
a
a
to force
hall,or
apartments of
or
5
the columns
appended remarks, with
a
your
audience
the
nicelypapered and well upholstere
be
a street
scene
privatehouse, to
it is far
preferableto obtain the services of a professional
those at some
painter,many clubs,especially
largecities may preferto prepare their own
scene
distance
from
if there
; and
scenery
inclined,it
is
are
any members
of these
economical, and
more
satis"ctoryto have a scenic
always ready to prepare any
oftentimes
artist connected
scene
or
clubs
effect
these,the firstare the
or
readilytransported,
packed
easilymanaged than the others. They are
more
attached
to
When, however,
stage.
doors
of
a
the
They
are
simply of
playrequiiesa
scene
windows, flats are necessary.
lightframe- work of deal,upon which
and
the
box-scenes.
up, and
and raised from
and lowered
roller,
a
club,
requiredfor
desirable for amateurs.
most
tically
artismore
the
with
proper representationof the play produced.
Scenes are of three kinds,the drops,flats,
and
are
imagine
to
prisoncell.
While
Of
of
:
much
too
From
exhibition.
transfer the
printwe
slightalterations
some
THEATRICALS.
more
canvas
above
the
with ticable
pracThese
sist
con-
cotton
or
vas
can-
is
or
a
tightlystretched. Both of these requireside scenes,
wings,v"'hichare similar to flats except in size,which for
24 or 30 inches
stage of 15 feet opening need not be over
wide.
A box-scene
the stage, the
front to back
simply three flats placed so as to enclose
wings being replaced by flats running from
of the stage. This givesthe most
perfectrepresentati
of
amateurs
to
is
an
interior,but
handle, and
often allowable
between
is also the most
properlyarrange
the acts.
There
difficult for
in the short
are
time
however
many
for their
obtainable which requireonly one
scene
playsnow
the box-scene is
whole production,
and, when it is possible,
in such a case.
by fir the most satisfactory
Besides
there
the various
kinds of scenes
are
required
borders
or
short
curtains
paintedin
imitation
of
sky
or
1
HOW
6
TO
AMATEUR
MANAGE
THEATRICALS.
as the case
ceiling,
requires
; and sometimes a long,narrow
at the back
stripsimilar to a side scene
placedhorizontally
of the stage is necessary to representa wall,
a beach,or the
surface of water.
The
frame- work
for flatsis generally
made
inch thick and three
or
strong and is the
substantial when
Lighterframes
use.
handle.
be
are
most
The
extra
no
frames
thickness
usuallybraced
four inches in width.
are
at
one
size is
This
for constant
required
used,and are easier to
usuallymortised,that there may
however
can
of boards
the
be
at the comers,
they
joints.If large,
if narrow, by a brace in
of
corners
or
the middle.
The
flatsare
made
usually
one-half of the entire
in two
The
scene.
each representing
pieces,
doors and windows haying
the frame-work
is made
in accordance
with
planned,
them.
They should be made quitesmall,much less in height
and width than those in actual use in our houses.
By this
the scene
looks largerif the proportions
means
are
pre^
been
served.
Windows
this
are
being more
made
usually
easily
kept
to open
in order
hingeslike doors,
than sliding
up and
on
down.
The
a
frame- work
of the
scene
is never
cut at the bottom
door,as this would greatlyweaken the frame. Actors
the threshold,
which
therefore,must
step over
from
usually
of
tering,
en-
is
3 to 4 inches
high.
is represented
Glass in windows
by thin lightblue muslin,
if designedto
if required
and are painted
to be transparent,
be
opaque.' The
former
is the most
convenient,as
may be placedbehind it in case
to be other than transparent.
paintedcurtain
a
small
it is required
Having preparedthe frame-work,the next thingis to cover
it. The cheapestmaterial is substantial brown
wrapping
is
This
for
two
or
one
sufficiently
ances,
performstrong
paper.
but is not recommended, as it is very easily
broken
through, and great care is requiredto prevent accident.
Common
unbleached cotton sheetingis a little more
ex-
HOW
pensiveand requiressome
bat will be macli
and
about
colors,
the
receive
preparationto
in the long
satisfactory
more
9
THEATRICALS.
AMATEUR
MANAGE
TO
run.
inches
largeron
This is thoroughlydampened, and
each side of the frame.
and pasted at the edges with strong
laid upon the frame
flour paste. The
paper will appear very flabbyand loose,
and tightas a drum*head.
but will dry so as to be as smooth
it is thoroughlydry,it is ready for the scenic
As soon
as
time is required. The cloth beartist. With
ing
cotton, more
cut the proper
siz3,dampened, and laid upon the frame,
side of the frame with glue,place the cloth upon
cover
one
Brown
it,and
with
paper
fasten the
much
more
as
than either
satisfactory
*^
in the
this for the
tacks
or
manner
same
it will bear.
tightlyas
This method
remainingside.
order to prepare
two
Proceed
the cloth
ends, stretching
Then
of
cut
small tacks.
fasten with
the
In
is wetted
will be found
glue used
one
painter,
coats
more
or
rately.
sepa-
**
This is simply
filling"or
priming" are necessary.
size ; and size is a thin solution of
whiting mixed with
The priming should be about the consistency
glue in water.
laid on
of milk, or slightly
thicker,and should be plentifully
"
"
with
a
white-wash
brush.
Two
for the scene, and
after
coats
will make
drying,the
work
nice foundation
a
is
ready for
the artist.
The
designingand paintingof
and much
degree with the artist,
this matter.
There
the scenery
freedom
may
rests
in
a
great
be allowed
in
landscapesand pictures
of interiors in the illustrated papers and magazines of the
be studied and copied for stage
present day, which
may
There are a series of colored lithographic
models
scenery.
for use by artists,
be libtained in any large city,
which
can
which are specially
adapted for this purpose.
The play-book being carefully
studied,and the requirements
being fullylearned,the scenic artist must adapt his
model to these requirements. Professionals usuallypaint a
fect,
model
three feet square, first,
to judge the efor
scene, two
before beginningon the canvas.
The best way for the
amateur
to begin is to divide the model, be it engraving,
are
thousands
of
HOW
8
TO
MANAGE
THEATRICALa
AMATEUR
into a namber
of squares, each of
landscape or lithograph,
Thus if
which is to correspondwith a square foot of scene.
into
is to be nine by twelve feet,divide the model
"the scene
twelve equal parts in width, making the divisions in height
of the sama
length,th'srebyforming perfectsquares all over
the model
It may
be desirable not to injurethe model
by
it. This may be obviated by fastening
drawing lines across
it to a board, and stretching
threads across.
Let each square in the model represent one square foot of
Mark
out squares on the canvas
the scene.
a foot each way
and then mark out with charcoal or crayon, the outlines of
pictureas representedin
the
contain the
must
canvas
same
the
as
square of the
Each
the model.
in
correspondingsquare
the model.
for
laying on
the colors. These may be of the cheapest grades,and can
be obtained at any painter's
supply store. They should be
when
mixed
in powder, and
obtained
required for use.
for holding the mixed
excellent buckets
make
Fruit cans
with
and
thickened
size
mixed
with
colors. They are
Having
the outline,all is in readiness
now
"
**
Flake
White
to render
appliedfirst and
It
he
as
be
must
lighterthan
blend
the
lightsand deep
to
touching up afterwards
The
drops
should
tho
is the proper
flats. In case
or
be stretched
previouscase),and
finished.
It is then
about
inches
a
upon
narrow
two
board
more
beyond
work
them.
so
drops
the
scene
paintall
by
is fastened
each
to
ly
mere-
whether
the cloth
(notgluing,as in
paintingis entirely
and a round
pole
tacks
the frame
These
on,
to the
should
side,in
bottom, and
projecta foot or
order to properly
or
trees, foliage
making wings representing
termed, is necessary.
work, as it is technically
In
and
scenery,
decided
from
on
be taken
be needed.
until the
top.
dry
painterusuallyfinishes
are
frame
in diameter
to the
in afterwards.
must
care
remain
taken
worked
shades
it may
to
way
a
tints are
the full efiect at once,
where
above
medium
that all these colors
remembered
along,puttingin
goes
The
opaque.
first put on, and
The
each other.
when
the tints
them
rocks, file
proFor this
TO
HOW
THEATRICALS.
AMATEUR
MANAGE
9
professional
stage carpenters use thin boards which
the proper
cut
to
are
shape. For amateurs* use, or where
and
is aimed
lightness
at, good thick pasteboard,
economy
purpose,
board, may
straw
or
tack
The
answer.
of straw-board
sheets
along
the
mark
then
edge ;
made,
been
having
frame
out
sharp knife or
fine saw
trim the edges to the proper
shape. The strawboard
then be reinforced at the back by stripsof lath,
must
with charcoal
render
to
it
intended, and with
the outline
stronger. This
being done,
directed,gluingthe sheeting firmlyto
all scenery,
double
plan is recommended
that a largernumber
be
used
if each
and
of
scenes
small
of the
be turned
can
both
a
much
when
wing, and
around
held
are
mountain
by hand,
or
the
a
scene.
cave
used, being
be
of order than
out
by pivotsat
the
of profile
case
shrubbery,for
less liable to get
These
could
than
In
stage, revolving wings may
the
stage be
is to
the top and
be
changed,
wing being painted On
scene
large enough, a
foregroundof
a
bushes
the sides of the
occupy
with
After
this
the
for
a
garden scene,
effect.
Its
forest would
be
appears
pairof
a
as
an
drop representingthe
good subject. Trees and
a
and
scene
running vines meet
is painted,the whole
scene
substitute
or
hand
reason
sides.
If
and
at
upon a separate canvas.
side should
be trees and
readilyhandled and
the sliding
wings.
bottom
be
may
for the
and
for its economy
both
forest,and the other side rocks,for
a
straw-board.
the
was
wings, one
For
before
as
cover
the wings, are made
to
especially
duty, by being painted upon both sides. This
Almost
do
a
and
scene
or
may
a
portion is
This
arch.
grown
over-
interlace at the top.
central
wings,and
forest
the branches
lake
forms
be used
scene
a
cut
pleasing
with
for
out
park
a
moonlight
givesa greater apparent depth to the stage
than can
be obtained
by any other means, and is very pleasing.
This scene
should
be made
of heavy cloth,well sized,
be mounted
and must
upon polesat top and bottom, to keep
it in proper shape.
Some
from
use
very
handsome
ordinarypaper
and
artistic scenes, may be
hangings. For a corridor scene
made
or
for
a
chamber
Cover
the scene,
some
flatand
as
panels,
the
windows
touch
and
The
seams.
largeunbroken
a
the paper
up
paper
of
rest
should
gives a very
space
Paint in the doors
to the scene.
look
uncomfortable
ter
then, al-
windows, if any, paper the
and
doors
carefully
matching at
in
directed and
with cloth,as before
out
arranged
and
paper
the frame
marking
be
hangingsarranged in panels may be
and
rather
unobtrusive
large figure.
scene,
Select
used.
THEATRICALS.
AMATEUR
MANAGE
TO
HOW
10
in
parts, creating
some
by touching up the lightsupon the upper and right
and
hand portionsand by deepeningthe darks on the lower
be made,
left hand parts. By this means
scene
can
a nice
which would otherwise be far from satisfactory.
in strong or overbright
Paint in subdued
shades and never
a
shadow
colors.
The
latter
obtrusive,and
too
are
of the spectators. If
work
possible,
which
be
the
is to
scene
often in the
examine
the
of the
work, by
eyes
lightby
same
If this is not
shown.
course
with
also tire the
convenient,
of artificial
means
Ught.
Amateurs
should
not
attempt
drop
a
This is submitted
curtain.
to closer examination
by the audience than any other,
and quickly
and defects,
however
small,are easily
seen
owing
and also from the
to its strong illumination by the footlights
fact that it is shown when there is nothingelse to take up the
It will be far better to have a fine drop,painted
attention.
by
In
the borders.
regardto
scenes, and
for out-door
They
are
top, and allowed
however
too
near
heads
In this
case
branches
The
see
of
the
their heads
it is better
of trees,
selection of
or
some
scenes
to
to
for
rafters,
board
narrow
a
the flies. Care
from
stage is email
the
usuallypaintedblue
are
stucco-work,or
as
hang
to
the
to
These
"
cloth,tacked
of
when
ridiculous
his business.
understands
who
one
some
foot
a
represent upon
be taken
must
performers,for
within
the
the blue borders
to have
not
at
riors.
inte-
or
it
two
the
would
be
of the
sky.
borders
the
such
objects.
depends of course
be presented. If lightpieces,farces
useful
principal
ones, the most
Many pieces requirefor their
or
scenes
entire
the
plays to
societyplaysare the
on
will be rich interiors.
performance but
one
HOW
TO
bad
work
of scenery
for
make
drawing
AMATEUR
of
large number
of
the stock
specialscenery
be
follows
as
:
a
course
with
with
the open
which
farces,dramas
flat
produce
to
be necessary, but
may
Burlesquesas
with
these the
do also
rule
general
tragedies.
most
a
a
comedies.
or
in findingsuitable playsto
diflSculty
no
so
;
This
fit
require
paintersoften facilitate their labors by stencilling
Scene
If
a
a
stencil
be
figureis to
is cut
be
figurescan
for
lake
plays whether
hand.
on
and
assortment
an
will find
company
would
chamber, attic,cottage exterior,street, wood,
room,
scenes
club
amateur
an
described will form
When
H
as amateurs
produce such pieces,
A good assortment
changiug scenes.
of
palace exterior,garden
Other
THEATBICALa
it is preferable
to
scene, and
often
MANAGE
repeateda
of times
number
in card
board, by which
of
quicklypainted by means
touched
afterwards
up
wbrk,
frescoes,stucco
"
*-8tub
is very
this mode
of
brush.
satisfactory
and
borders
ornamented
scene
number
any
a
a
upon
the
like.
hardly suitable for amateurs, as their stage
is rarelylargeenough for this purpose, without crowding too
Set
are
scenes
cramped with
stylehad
a
better
and
made
20
stage less than
A
much.
the
set
cottage
be
not
stage is
each
on
would
wide
side,and
look
therefore
too
this
essary
attempted. If however such is necreasonably largea set cottage may be
the first
flat from
by placinga
feet
the third entrance,
to
Cottages for small stages
with the
be made
small as
must
as
possible,
consistently
heightof the actors, and they (the actors)must be careful
not
to remain
too near
them, as the proximitywill render
the first wing.
connecting it with
them
objectis needed
The
follows.
A
a
piece of
other
and
in diameter.
pieceswith
iron
The
one
in
tree, fence
arc
satisfactory
by
two
inches
at
of the
scene
an
them, and about
has
other
sary.
neces-
made
as
is armed
siiape of
into the
is sawed
or
arc
iron,containinga hole
bottom
holes
a
twisted
end, which
of strap
where
of the stage, props
substantial
projectingpiece
similar
or
stick of deal about
the top with
The
corkscrew.
inch
set scenes,
in the centre
most
at
a
In
ridiculons.
one
a
angle,has
one
or
half
two
five feet from
HOW
12
the floor at the back,
To
in.
set
conical
are
the
up
a
hand
scene
with
One
of these
screws
These
necessary.
are
handle, and
a
stapleis driven
or
screw-eye
common
screws
the stage.
THEATRICALa
AMATEUR
MANAGE
TO
aie
easilyforced
into
placed in the iron eye at the foot
twisted pointof the prop is inserted in
of the scene, then the
is
is then forced into the stage
stapleand another screw
through the iron eye at the foot of the prop. This does not
take as long to do as does the reading of it,and no fear need
be felt of accidental tailing.
Much
depends upon the proper illumination of the scenery,
be spent in the study of the best
and too much
c-annot
care
have
of accomplishingthis object. Each
wing must
means
wise
otherwhich would
behind it,to obviate the shadow
a light
be cast upon
the scenery
ble
beyond and where it is possi-
the
the
should
scenes
EFFECTS
SCENIC
sky
The
in the
ILLUSIONS.
AND
This is necessary
is
The scene
to allow
the
"
"
opaqued on
perpendicularstreak
of the
painted with
be
should
moon-lightscene
transparent color,and without
some
above.
from
illumination
have
of whiting.
the admixture
rising moon
the
to
duced.
pro-
the
with
back
referred
be
to, and
ception
ex-
the
at
painted,a backing of
semi-transparent purple graduallylightingto bright red is
is now
painted. The scene
ready,and all that remains is
This is the simplestpart of the operation. It is
the moon.
merely a tin box, sufficiently
large to hold a reflector,and
either a strong and
bright argand burner kerosene lamp,
The top of the box must, of
an
or
argand gas burner.
this,where
bottom
of
course,
have
an
opening
bottom
to
allow
cold
should
the
be of
brightestpart
should
be used
raised very
by
means
of the
a
a
the back of the
centre
and
the heat to escape,
The
front
of
rope, and
hole of
crescent-shaped
and
exactly opposite the
the horizon
The
box
or
If gas is used, a rubber
it to the lantern.
This is
the
the
the
flame.
to convey
scene.
is
enter.
circular
the
gentlyfrom
of
allow
to
air to
tin,with
size in
proper
the horizon
to the
opening
top of the
in front should
color at and
above
the
tuhe
to
be
scene
touch
horizop
HOW
MANAGE
TO
renders
the effect very
that the
sun
is of
the motion
crank
a
to
space
beautiful and
steady.
realistic which
most
and
is
I have
less
ness
bright-
it is
has
be
complished
ac-
attached, and
ble
given consideraof the
one
been
ever
used in this connection
the
observed
raisingshould
the rope
which
13
has
one
color
The
as
explainingthis effect,
effect sometimes
An
to
and
slow
very
richer
the horizon.
until well above
by
as
realistic,
every
deeper and
a
THEATRICALS.
AMATEUR
most
produced.
is that of
causing
brighten in the
This is producing by
opaquing the
parts shone upon.
from the back.
shadow
parts, and then lighting
up the scene
in doing this that the
Great
care
is,however, necessary
has been, is not also
lightstreak,where the path of the moon
lightedup, thereby destroyingthe whole.
Another
way of producing the sun-rise effect is to paint
the
objectlightedby
moon
or
sun
to
''
"
the
with
scene
the
the
exception of
then
sky, and
cut
out
portion. The sky is represented on another cloth
graduallybrightening,with a slight
painted dark sky-blue,
this
red
tendency towards
in the
vicinityof the
This
sun.
nary
lumi-
representedby a hole of the proper size. This sky
of the profile
is placed immediatelyback
scene
scene, and
should be sufficiently
long to reach twice from the horizon
the flies. The
to
is backed
scene
by a curtain,gradually
shaded from
tain
perfectwhite to red and purple,and this curshould be brilliantly
and should
be stationary
lighted,
behind the moving sky scene.
The manipulation
is obvious,
the sky scene
moving either up or down to represent either
is
"
sun-rise
A
have
or
sun-set.
etc., is to
pretty effect for dream-scenes, allegories,
very
the tableau
without
appear,
usuallyshown
any
in this connection
of the scenery,
movement
and
gradually
as quickly
and
it
graduallydisappear. It is a tellingeffect,and T
is not oflener used.
It is exceedinglysimple,and
be taken
to follow the
must
The
as
any
and
if
favorable
care
ment
com-
be assured.
to
scene
frame-work
is tarlatan
directions,success
wonder
or
be
used
would
for this
purpose
spoilthe
muslin, and the
effect.
scene, which
should
The
be
a
material
should
drop,
used
be of dark
14
"
HOW
TO
colors,and
MANAGE
without
is punted M^ith
details,
When
used, a
priming being used.
hung behind it. The light should be
strong
in front
whatever
or
is
curtain
of the
be
may
stage behind
the
THEATRICALS.
elaborate
too
transparent colors, no
plain,dark
AMATEUR
until the time
scene
apparition,
portionof the
The
intended,to appear.
be in total darkness
should
scene
for the
until
the
moved.
portionof it,reThe
tableau
are
being arranged, the foot-lights
graduallylowered, and light from behind being thrown on
the tableau,the picturegradually
appears as if by magic,and
there being no movement
of the scene, no drawing aside of
curtains
or
opening of traps,the effect is trulymysticalin
the extreme.
the tableau disappears
By reversingthe lights
and the scene, before invisible,
into sight. The
again comes
dark
curtain
This
a
set
most
dark
be
then
must
of the action
house
curtain,or
lowered
a
before
to
occasionally
show
the interior of
stage. The scene
being an interior,and
going on outside,it is necessary sometimes
portionof the action Inside the house.
necessityof changing the scene, the side
some
nearest
is disturbed.
the tableau
the
cottage on
the
scene
the
effect is also used
show
to
and
moment,
proper
the
audience
is made
when
justdescribed, and
and
visible,
viate
ob-
of the
the
was
hind
be-
strong lightis thrown
a
it,its transparency becomes
placebehind it.
of
Another
application
transparent,as
To
the action
can
take
complete change of
slightestmovement.
in this
lightand
For
to
scenery,
The
is backed
manner
shade
and
this
exhibition
without
the
by
an
being painted
scene
having marked
one
can
contrasts
be
in
effect which
a
moment
always
of
colore.
possiblyoverdrawn
changed
takes with
although in the realm
application,
than the theatre,is the change from a
Another
rather
and
and
noiselessly,
brilliant and
the ruins of the same,
effect is the sudden
transparent
instance,a castle interior
audience.
same
an
of the
winter
in summer.
landscapeto the same
of a
The lightning
usuallymade on the stage is by means
and darkeningof
flash-box,and is simplythe sudden lighting
The neatest and
This I will explainfarther on.
the scene.
HOW
MANAGE
TO
realistic method
most
THEATRICALS.
AMATEUR
is
follows
as
:
If the
15
is
scene
an
terior
ex-
grand and appalling.It is also
the
is preparedthe same
as
exceedinglysimple. The scene
before described, the opaquing being done
moonlight scene
the back.
The parts left are
simply jagged streaks
upon
like a shaft of lightning,
and there should be from three to
ferent
five of these in different parts of the scene, and going in difillumination
directions. Any
sudden
momentary
it
thrown
be
can
made
very
the back
upon
of the
scene
one
near
of these
bolts
**
"
best
and
realistic effect. The
startling
method
for accomplishingthis is to have a strong lightin a
tin-lined box, open and shut as quicklyas possible,
throwing
the lightupon
only one of the bolts at each flash. The
for using a number
of streaks is,of course, obvious.
reason
of the flashAnother
way to throw the lighton is by means
box, as will be explainedlater.
If desirable, the effect of setting
fire to a house in the distance
will
give
can
most
a
be used with
The
this
scene
will prove
and
very
cessful.
suc-
easilybe understood from what
has alreadybeen said regarding illumination from the rear.
The parts representing
the fireburstingthrough the windows
and roof being left transparent. After the flash,a slight
light should be thrown behind that portionof the scene
the house is and with a flickering
where
motion
gradually
increased.
this
A
treatment
The
can
effect is more
realisticthan would
from
seem
description.
mode
making instantaneous changes from
to another is to paintthe scenes
one
scene
flapsabout
upon
which
fastened to an uprightframe-work
a foot wide
are
by
the same
of wire hinges. The flapsare worked
means
on
swivel blind,familiar to every one.
principleas a common
Take
The piece
for instance,the playof A Romantic
Idea,
requiresthe instantaneous
change from a ruin to a gothic
castle^and then back again to ruins. The flapshaving been
prepared and hung, paint upon one side of them the castle.
common
Then, by
of
of the bar
means
or
present the unpainted side,on
ruin.
This is
effective.
a
neat
way
of
rope used
which
making
to
should
this
turn
be
them
over,
drawn
change, and
the
is very
HOW
IQ
TO
The
flat
The
best way
MANAGE
AMATEUR
THEATRICALS.
in pantomime, where
quitecommon
a
is made
whole or only a portionof the scene
to change. The
sudden and mysteriouschanges from one
to another,
scene
the appearance
and disappearance
of objectspainted on
or
the flat are done by means
of flaps.
then
scenes
punch
paper,
color
fog
has been
and
a
lowered
are
The
unrolled.
same
manner.
well
and
like clouds ; the
much
after another
one
stage is
the
at
and
then
gauze
drop
darkened.
time
same
the
and
fog upon the briglit
moonlight scene
lighthousewith its brightbeacon, never
yet failed to
set
pleasurethrough the audience.
is usuallyimitated
by means
thrill of
Thunder
iron;
best
the
size
size will
smaller
do, but
larger the size, the
the noise
as
A
bass
drum
purpose.
To produce the
A
used.
so
to
as
long
real article.
strike
the
to
The
from
on
be of half inch
depth is
the peas
to
At
theatres
some
is much
more
used
for this
the inside with
short
one
end
to
the noise
The
boards, and
the
other
box
for
nails,
The
peas
is supposed to resemble
six feet
end, which
this purpose
long by
In use, it is raised
the other
are
of peas
handful
a
A
could
modes
on
sheet
small.
too
fallingrain,several
the roof.
immaterial.
run
of
send
deeper the
none
is often
bagatelleboard, and
againstthe nails,and
patter of rain
should
is
stage, which
large gong
is studded
a
run
the
or
noise
box
resemble
allowed
are
are
the
five feet.
by
produced
dimensions
above
hardly be mistaken for the
balls across
they roll cannon
realistic.
three
pieceof
a
and
is, however, decidedlyartificial,
thunder
This
about
being
of
is
The
the
risingof
so
the
produced by using a gauze
slowly descending drop painted lead
of different shades
curtains
a
produced in
two
or
these
cover
better,the tracingcloth .used by
lightsalong a distant shore,or a cityin
The
effect of
curtain
the entire scene,
holes with tissue
is much
distance,are
The
stars is to opaque
through and
holes
what
or
imitate
to
draughtsmen.
the
are
at
one
is then
wide.
one
end
til
un-
raised,and
on.
Another
method
is to make
a
paper
screen
of about
the
18
HOW
MANAGE
TO
ings,and amend
artistic
and
have
generally. Sp that he
the most
tellinggroups
To
the
be instructed
the
to
the
follows
faces
that
The
to
are
To
and
in
Unless
the
by
of
who
"
to
ence
will
and
the
that
critics have
of
will
the
at
mies.
dum-
they
when
the
stage.
moment
proper
themselves
glaring
dross.
impudent
wishes
The
talent
will
play
to
between
Modest
of
members
the
assurance
on
the
that
early
the
a
pure,
is
stage
pany
com-
ness
willing-
the audi-
that
self-reliance
or
ties
importuni-
the
Knowinnr
Juliet
An
for.
banity
ur-
tinually
con-
fancies
generallyshow
useful.'*
by
bothered
long looked
quickly squelch
quickly discriminate
from
with
wax
and
how
to
means
no
dressers'
juvenile who
amateurs.
reallypossess
detected
who
ambitious
class
make
by
a6d
pikestaffs,
will find himself
some
or
determination
of this
it
displaysresolution,tempered
aspiringlady
he is the Hamlet
show
seek
transpiring on
shout,
or
outset, he
some
^
them
is
parts
manner.
very
Teazle
Lady
cheer
as
hair
as
school
must
manager
the
at
But
stiff
stand
interest in what
natural
a
small
forwardness
no
audience.
expressionless
laugh, to
or
the
to
are
manager
express
frown
and
they
set
as
of
attention
by
fill
who
in subordination
well
themselves
keep
to
of
waiting, mobs,
in
people fillingthese
leading characters,and
attract
task
troublesome
somewhat
The
soldiers, sailors, etc.
must
tableaux.
and
courtiers, valets,ladies
as
in
characters
place the
to
effect
stage
lesser,but often essential characters,
the
scenes,
up
able
an
possess
and
for color
eye
be
will
falls the
manager
marshaling
nice
a
should
He
pronunciation.
wrong
sense
THEATRICALS.
AMATEUR
bright ore
as
as
readily
in real
life.
But
if
a
his reward
manager's
is
proportionate.
triumphantly, he
who
knows
skill,care
toils and
feels
as
does
troubles
When
the
he
are
sees
captain
that her safe arrival in port is
and
resolution.
many
a
of
and
great,
play **go off"
a gallant bark
largely due
to his
AMATEUR
MANAGE
TO
^HOW
DRESSES
THEATRICALS.
19
DRESSING.
AND
i
of
In the matter
"elf-denial is
female,
required.
For
desire
to
to
apt
are
and
costuming great care
sometimes
male and
both
performers,
many
make
great
in
their appearance
a
tume
cos-
while
Meanshape and color is unbecoming to them.
be so glaringin hue, or so strange in shape,as
it may
most
to contrast
unfavorablywith the dresses of the rest of
To insure proprietyand harmony in costume,
the company.
it would
be well to leave the entire ordering of the dresses
that
in
the manager
for his taste and
either to
noted
although each
in that
knowledge
individual
of the company
member
some
dress may
be
unfavorablyin color,or
contrast
may
to
or
perfectof
of
be out
its
kind, it
keeping
in
bers
by the other memof the company.
As a general thing ladies will be
found safe guides in matters
relatingto the skillful contrast
or
blending of colors. Much more
depends upon this skill
in costuming than the unthinkingsuppose.
In rehearsinga
other
some
respects with the habits
Otherwise,
line.
part, either
costume,
at
and
home
thus
wearing a styleof
Otherwise
or
the
on
stage, it is well to rehearse
in
get rid of the awkward
feelingcaused by
dress to which
is unaccustomed.
will be apt to
one
worn
a
person
tilt
a
hat, with
cavalier
its
the brow
in the stylein which
the
drooping plume, over
need hardlyremark
that some
We
modem
Derby is worn.
to the easy
practicein dancing and fencing adds much
of a
of carriagesupposed to be the prerogative
gracefulness
gentleman.
A
few
years ago it was
to the shape and styleof
and
been
is
positionof
the
difficult to procure
productionof
appropriateto
costumes
the characters
of
information
a
piece.
illustrated books
But
and
so
as
period
rapid has
the
papers
that it
tion
to get all the informavillages
needed.
Velvets, satins,jewelry,gold and silver lace,
imitated
in
with such perfection,
embroideries,etc., are now
cheap stuffs and metals, that very elegant theatrical costumes
be easilyand economically made.
can
quite easy
even
in remote
HOW
20
MANAGE
TO
Too
much
be taken
cannot
care
HIS
AND
PROMPTER
THE
THEATRICALS.
AMATEUR
DUTIES.
the
selecting
in
to
person
positionof prompter. Bad acting is made worse, and
or
good acting often marred, by the inefficiency
negligence
fillthe
of this official.
of means
performersis by no manner
Prompting forgetful
the sura
total of a prompter's duty. It is his business
make
out
(or see that they are made out) inventories
hand these
He should personally
etc.
scenes, properties,
that if
stage carpenter and
the
to
anything is
called for which
articles may
give the play about to be
the
should
article
or
at
unable
once
produced
so
to
careful
perusal,
particular.The
a
that he may fullyunderstand
it in every
prompter should proceed to prepare his prompt
after
book
:
lines
Forty
ventories
in-
provide,
procured. He
are
BO
this formala
of
the property man,
they
be
to
of the page
previous to
a
"
he marks
entrance
an
If the character
call."
to
the
on
gin
mar-
be called should
this should
also be stated with the
specialarticle,
Call Marguerite table,"or
Call John Fryer
call,thus :
to fire." This call is read to a callpurse, whistle and pistol
at
boy, who takes the articles from their proper placesnear
need
any
"
"
"
"
hand
carries them
and
Upon
duty to
completionof the prompt-book it becomes
himself
attend rehearsals punctually,
and make
and
acquaintedwith the abilities,
aspirations,
Some
to be
called.
the
he
actors
will
see
need
but
a
word
or
two
swimmingly, while others will requirewhole
catch the words.
given them before they fairly
Remember
that
well
prompt
as
that
actor
as
a
prompter
too
fancies he
remiss.
can
sometimes
can
be
a
It will sometimes
even
make
a
point by
a
prompt may
the prompter
greatlyembarrass
set
lines
little too
happen
lengthened
his speech.
pause, either before beginningor in the midst of
be exercised in such cases,
Great discretion must
To
oughly
thor-
to
off
an
his
of each actor.
mannerisms
them
to the actor
as
a
sistent
per-
the actor.
belongsthe duty of having all the shouts.
HOW
TO
THEATRICALS.
AMATEUR
MANAGE
21
firingof guns, breaking of crockery,storms of wind, thunder
and
lightning,
properlymanaged, so that they well fillin at
the
moment.
proper
The
ready
should
prompter
for every
take
nothing
The
contingency.
granted,but be
perfect actor may
for
most
get
and forembarrassed
become
unexpected moment
his part.
Consequently unless the prompter has his eye
which
following every word, a hitch is likelyto occur
may
greatlymar the performance of the scene.
Where
find that the prompter is fullyup in his
amateurs
For it will
his assistance.
need
business,they will seldom
ory.
give them a confidence that will go far to help their memat
a
most
ELOCUTION.
"
Society plays,as
plays of the day, or
produced that many aspirantsfor
they are termed, are now
it unnecfame
and professional deem
essary
dramatic
amateur
This
attention to the study of elocution.
to pay much
is a great mistake.
No
need let his every day conversaone
tion
he has
less "trippinglyoff" his tongue, because
come
learned
how
to speak correctly
; to emphasize at the proper
place,and to similate by tones and cadences the various
feelingsand passionssupposed to agitatethe person acting
the character.
James
dramatic
Wallack, the elder,a matchless meloSo
"
of the
many
"
"
actor, and
the stateliest blank
none
that
the
less
grandest
verse
of
"
the
elocutionists
been
Phelps
declaimed
tragedians,
sonorouslyand richly yet he was
liveliest rattle-brained
graced the stage.
ever
never
one
of the very best
one
was
best Hamlets
that
surpassed),was
as
Gustavus
ever
lived
Brooke,
(whose
inimitablydroll
as
great in Pallstaff as in Wolsey.
have
been
comedians
one
of the
Othello
has
O'Callahan.
Some
of the
Of course
equallygood Benedicts.
there is no proprietyin bringingthe heavy stylesuitable for
Macbeth
into the lightbadinage of Dazzle.
The manner
of good actors and speakersshould
ied,
be studbut
not
imitated.
HOW
22
TO
MANAGE
MEMORANDA
While
as
size is not
stage is
for
OP
AMATEUR
THINGS
THEATRICALS.
REMEMBERING
WORTH
as
largea room
possibleis generallydesirable,
the only consideration.
At the end where the
to be
situated there should
the convenience
dressingrooms
of the
should
in order
to avoid
seek out
littlefaults.
be
as
exits
near
be
a
and
door
the
on
either side
The
entrances.
the stage doors
as
possible
all
for the performerstravelling
necessity
about the premises, and perhaps keeping the stage waiting.
The easier the plays,either in lengthof parts,manner
of
arranging scenery, etc.,the more
likelyare they to go oflf
pleasantly.
The
comfort of an audience
is a thing to be considered ;
for if the people are in a pleasantmood
they will be likely
of the acting,
and not be disposedto
to enter into the spirit
It should
should
be
be
a
rule
admittingof no
permitted behind the drop
a
deviation
curtain
that
no
except the
one
tors,
ac-
and
to attend to scenery, etc.
persons necessary
Amateurs
have a tendency to speak too quickly ^to rush
"
the
part, in short.
fojrmer
This
out
of
In this way
his speech, and
rapiditygivesan
A
from
thus
air of bustle and
; whereas
worn
they often
cut
another
per-
dissatisfaction.
cause
to
fidgetiness
a
formance
per-
if in well-
should
as
move
everything
and smoothly.
grooves ; easily
few lessons on
the
principal
points of a character
will be of great benefit.
a real good professional
actor
Talent
''
'*
or
even
genius are
of
little avail unless
you
are
perfectin your lines.
Keep your face well to the audience,whenever possible.
Speak up clear,and distinct.
Avoid
such as shufSing the feet and
a
fidgetty
manner,
sawing with the arms.
Be certain that the person speakingto you has finished his
speech before you begin to reply.
Carefullyrefrain from
tearinga passion to tatters."
Ranting excites derision,not emotion, in the spectators.
**
HOW
TO
MANAGE
Learn
"
not
follow
trust
^^
the
play
Be
the
one
actors
familiarize
graces
places.
proi)er
with
part
"
however
novice,
a
rehearsaL
at
appear
may
otTier
23
Remember
thing.*'
have
to
sure
make
the
s
she
or
aU
;
their
in
THEATRICALS.
important
an
he
promising
slow
speak
to
Will
Do
AMATEUR
only
not
them
with
dress
more
or
the
in
easy
the
of the
look
rehearsals.
This
costume
whole
will
; but
worn
in character
company
dresses.
Lighting
considerable
made
room
of
ability
dull
too
ojr
a
up
by
placing
they
are,
of course,
the
have
the
list
will
be
little
very
all of these
Nearly
of
them
number
of
scenery
are
N.
B.
those
of
up
high
glaring
should
positions,
if too
"
requires
too
experiments
different
in
either
as
be
if too
shadows
the
people
also
Where
modem
SELECT.
of
catalogue
that
on
appears
found
plays
dress
expensive
plays
by
TO
of
the
the
have
leading
our
required
given
not
times.
been
in
in
every
otherwise
or
different
plays
As
performed
piece
we
pages.
and
lengths,
a
rule
complicated
amateur
each
finest
following
styles of performers.
various
require
demand
lights
as
Actual
PLAYS
extensive
very
them
which
preformances
reversed.
selected
Among
Many
a
kind,
shadows
the
throw
of
its
lamps
WHAT
Out
theatrical
equally faulty.
are
low
for
with
companies.
; the
costume
they
sceneiy.
success.
The
and
instance.
stated, the
costumes
are
24
HOW
MANAGE
TO
THEATRICALS.
AMATEUR
PIECES
SUITABLE
PLATS
a
**
tiff" between
drawing-room
PAIR.
HONESTY
characters
male
individuals.
IS
; but
Scene,
PLATS
Two
one
has
one
bed-room
brisk
personate
eral
sev-
an
lodging-house
gentleman,
a
peppery
old
and
man,
a
man-servant.
Requires a gentleman
some
drawing room.
and
ON
gentleman,
plain school
one
AND
lady, and
a
servant.
A
hand"
WATER.
charming
DRAWING-ROOM
soubrette
character.
A
CAR.
lady. Scene,
Very pleasantpiece.
one
PLATS
FOR
FOUR
HIGH
Three
female
a
room.
gentlemen,
car.
will.
lady, and
BREAD
A
Two
to
TIGER.
A
uncle's
One
opportunity
elderlyfemale
Very funny.
and
scene.
lively young
a
gentleman.
COX.
AND
comedians,
lady and
PERFORMERS.
THREE
TAMING
Characters
an
a
office.
broker's
a
FOR
first-rate low
keeper. Only
dialogue. Only
POLICY.
BEST
THE
BOX
an
only
witty,pleasing piece. Needs
drawing room.
place in a handsome
Two
smart
CALL.
MOBNING
very
Takes
room
Very
wife.
and
scene.
A
A
HAPPY
husband
ROOMS.
PERFORMERS.
TWO
FOR
A
A
IN DRAWING
PRESENTATION
FOR
good male
ordinary room.
and
one
excellent
interior of
a
Pullman
drawing,
PERFORMERS.
C.
female
character.
Only
BO^e"
26
HOW
TO
MANAGE
PLAYS
FOR
SIX
PERFORMERS.
DANDELION
Four
male
best
very
low
only,
scene
and
male
three
and
different kinds
of
for the
wanted
characters.
comedy parts, while
pretty landscape.
a
female
three male
this
THE
male
and
one
one
scene,
a
One
a
good chance to
idain apartment,
characters have
scene,
three female
The
comedy.
capital parts
parlor, is used
a
in
the
through
one
Five
and
male
act has
only
one
A
One
good parts
double
the
as
character, which
Both
interest.
are
pleasing. The
all
LOYER.
A
low
comedian,
If
anywhere.
and
dresses
two
old men,
lady
one
the chambermaid
and
low comedian
found
be
can
OP
one
The
chambermaid.
uine
gen-
APPARENT.
LOAN
walking gentleman,
ohe
one
Fizzing over with
scene, a sittingroom.
garden.
a
scene,
needs
HAIB
female
one
X.
characters^
only
act
THE
not
good.
very
act.
Three
as
the
STAGE.
MR.
and
of
one
MAID.
Only
three female
and
brilliant piece. Only
whole
is
act.
OFF
The
are
characters furnish
comedians.
whole
Dandelion
all the others
CHOILOTTE'S
AUNT
Three
B DODGES.
female
two
THEATRICALS.
AMATEUR
they
sing, they
can
are
scenery
have
very
can
pretty, and
difficult.
ENGAGEMENTS.
NAVAL
One
lightcomedian,
The
prime
this is
an
Except
piece
lightcomedian, two
This is just the thing for
needed, and
drawing room
THE
lightcomedian,
chambermaid.
character.
Only
FOR
a
the
a
bermaid.
cham-
chambermaid
requiresoften
are
shifting,
CHANGE.
ladies, and
two
parlor piece,as
the dresses
TWO
are
of
and
room
a
there is
those
of the
chambermaid.
modern
only a
present time.
B0NNYCA8TLEB.
low comedian,
one
plain
A
old men,
Brimful
a
lady and
a
for amateurs.
One
one
and
the scenery
that
ANYTHING
One
old men,
two
old admiral, the Irishman
characters.
Al
Irishman,
one
TRYING
fun.
one
Good
old man,
ladies,and
opportunitiesin
ordinary dresses
IT
two
every
needed.
ON.
'
"
~
"
'
""
-
One
walking gentlmnan,
one
old man;
one
Hght comedian,
one
old
-
HOW
TO
THEATRICALS.
AMATEUR
MANAGE
lady, one
"
THUMPING
A
One
low
comedian,
and
nice, and
very
a
SEVEN
FOR
excellent
male
and
acter
for
female
two
a
play
is in three
both
with
strong characters
capital Irish servant
man,
dresses
of
PERFORMERS.
are
expensive
not
CBIME.
Of
or
a
is
these Miraim
opposite
very
and
full of
is
tragic abilities
a
of the best farces.
One
acts, and
characters.
lady
young
ical-comic
trag-
non-expensive.
MtRIABi'S
This
walking gentlemen, one
two
chambermaid.
scenery
PLAYS
the
on
LEGACY.
old man,
one
gentleman,
Dresses
.
Very easilyput
lady, on" chambermaid.
young
botli as regards dress and scene.
Etage
27
heavy
troublesome
a
Remard
;
nature
villain.
to
interest.
very
and
Five
fine char
Biles
Mit
also a
; there are
The
nceu"rj and
get.
HOME.
This
delightfulcomedy
requires four males
is
perfect of
the dresses
and
its kind.
of modem
PLAY
three
A
females
each
single drawing-room
of these characters
is the
only
scene,
and
life suffice.
FOR
PERFORMERS.
EIGHT
woodcock's
This
; and
It
spiritand grace.
is full of Robertsonian
little
game.
piece for parlor playing ; the characters,while
widely contrasted,give a capital opportunity to four gentlemen and
four ladies to display all the graces
of good society. Woodcock
is a
splendid part, for a young comedian.
Scenery,modem
apartments.
is
Fashionable
just
the
dress of the day.
PLAY
FOR
TWELVE
PERFORMERS
OURS.
Six males, and
six females.
Though
there will be
some
difficulty
in
managing the scenery, and the dresses are not easilyprocured,
yet the sparklingdialogue,the tellingincidents,and the eleganceof
the costumes
in
one
portion of the play, and
the other, will well repay
all trouble
and
their careless
outlay.
oddity
in
HOW
28
TO
PLAY
FOB
THIRTEEN
PERFORMERS
DOLLABS
Nine
with
male
characters
; or,
cliaracters.
This is
it
; as
x)opnlarpiece
very
Associations,in
of them
perhaps, because
a
spiteof
its many
gives an opportunity
actingmember.
to every
MUSICAL
WITT'S
; OR
PLAYS
for
PARLOR
OPERETTAS.
eight little operettas ; affordingan
following list contains
The
CENTS.
AND
Dramatic
leading Amateur
our
DE
four female
and
THEATRICALa
AMATEUR
MANAGE
who
ex*
the
are
time
same
opportunity
and
The
is
music
of
the
order
witty,
a high
language
singers.
pure
These
of midway
but sparklingand
sort
a
pieces occupy
pathetic.
between
Being more
singing and opera.
interestingthan the
song
former
They can be sang
; far less heavy and difficult than the latter.
cellent
amateur
actors
at
"
in
of character
out
or
costume.
LEAP
Music
**
and
selected
Oenevieve
de Brabant,*^
selected
music
celebrated
from
adapted
One
THE
The
YEAR.
from
Opera Bouffe,
Offenbach's
male,
female
one
TWIN
celebrated
SISTERS.
the most
popular
in Le
numbers
Two
Oirofle-Oirofla,"
"
Opera
character.
male,
Cocq's
femide
two
characters.
BfY
Duality,in
Musical
'*
Opera,
La
WALKING
THE
music
The
cesse
arranged
music
Angot."
One
Offenbach's
from
male,
arranged
male,
from
Le
female
one
Cocq's
ter.
charac-
COURTSHIP.
QUEEREST
Trebizonde.'' One
de
The
act.
one
de Madame
FUle
PHOTOGRAPH.
celebrated
female
one
Opera, **La
Prin-
character.
ESTRANGED.
The
Two
music
arranged from
male, and
one
female
Verdi's
celebrated
operetta, in one
Sedgwick. One male, one
BOLD
The
music
AGAIN
compocted by
character.
**
H
TVovatore,"
character.
CIRCUMSTANCES
Comic
Opera,
ALTER
The
act.
female
AND
Alfred
CASES.
music
character.
GOT
B.
THE
composed by
Alfred
B.
'
HONET.
Sedgwick.
Three
male,
one
male
fe-
HOW
TO
MANAGE
AMATEUR
MOLLY
This
is
THEATRICALS.
MORIAKTY.
tmusually good piece. The
spirit. One male and one female
full of
words
an
TEMPERANCE
Below
give a
we
29
witty,the
are
music
character.
DRAMAS
list of several of
the very
best
Temperance
Dra-
generally very
; being
The
is
nice sittingrooms,
costume
or
squalidgarrets.
mostly
in all cases
the
the dresses of modern
day life ; ranging from
every
clothes of well-to-do
ladies and gentlemen down
handsome
to the tattered
drunkards.
greasy garb of unfortunate
well
These
adapted for representationby
pieces are particularly
Temperance Leagues, Daughters of Rebecca, and kindred lodges.
mas
The
written.
ever
is
scenery
easilydone
either
BUM.
A
7 males, 4 females.
in 3 acts.
drama,
TEN
A
drama,
NIGHTS
drama,
DINAH'S
drama,
in 3 acts.
OF
THE
drama,
WABNING.
males, 3 females.
6
in 3 acts.
BOTTLE.
THE
drama,
A
11 males.
in 3 acts.
FIFTEEN
YEARS
OF
THE
drama, in 5
A
In every
First
the
disposition,the
the love of
and
pieces
scope
for
a
hilarity,and
the
humor
for
strong
(as he
rum
may
and
and
be
very
effective characters.
noblest
traits
to the allurements
This
drink.
main
character
of
his
of joviality,
in
all the
different
and, under
tragic misery
the
all the
surrenders
displayof high ability:
tispy clown
several
are
feelings of his heart
effective
is very
LIFE.
DRUNKARD.
plays there
who
man,
best
DRUNKARD'S
A
12 males, 5 females.
acts.
of these
one
6 females.
13 males, 4 females
in 3 acts.
melodrama,
A
CUP.
WINE
males, 3 females.
6
DBUNKARD'S
A
PLEDGE.
6 males, 2 females.
in 2 acts.
FBUITS
A
BAR-BOOM.
A
8 males, 2 females.
in 5 acts.
AUNT
A
IN
from
broken
circumstances, gives
genteel comedy to drunken
heartedness.
termed) who
Then
prostituteshis
gibes of his "company.''
Again,
there
is
wit
and
the
bar-
HOW
30
riclier every
keepers, growing
wlio
fellows
poorer;
night without
moment
oouldnH
stumbling
Then
THEATRICALS.
AMATEUB
MANAGE
TO
their
cross
at every
of
there is in most
their
as
costomers
village
grxyw
church
yard over the graves of
these plays a cute Yankee
yard
their
at
tims.
vic-
^too cunning
"
by the traps ajid
gulled out of either his silver or his senses
wives
and
of dissipation. The sad-eyed and poverty-stricken
pitfalls
that afford excellent
characters
are
daughters of the drunkards
chances to gifted ladies to not only delight but to help in bettering
to be
their
tempted neighbors.
ETHIOPIAN
PLAYS
AMATEURS.
FOR
quently
characters, and fredarkey
likingfor
much
show
abilityin personating both the "aristocratic
and
of the best pieceg
plantation black, we
nig
give a list of some
lad generallypersonates the
and
A young
to suit them.
Dinahs
have
Amateurs
As many
"
**
a
^'
"
**
"
Topsies
"
Drama.
Darkey
Bones, Tamborine
procured
many
of the
gentlemen.
simple and cheap.
young
dresses
fastidious.
most
**
They
and
The
who
THE
Banjo being
scenes
These
incidental
The
are
STUPID
by
the
pleaseeven
to laugh."
the
to
remain
SERVANT.
A
fidgety,fieryold darkey gent, and a servant
either breaking things or disarranging them.
One
Ordinary clothes.
THE
easily
together,and
easilyput
blame,
to
is
handled
skillfully
pieces rarelyfail
come
music
MUTTON
who
always
is
chamber
scene.
TRIAL.
mer,
seemingly stupid country lout, a crusty lawyer, a snarling farand
This piece is full of^ fun, and affords a
a country judge.
capitalcliance to take off peculiaritiesof local personages.
A
WHO
First
character
rate
passablecharacters.
and
a
poor
for
This
DIED
FIRST.
rough darkey and his
droll.
piece is irresistibly
a
wife.
other
Two
dresses,
Common
kitchen.
WAKE
UP,
WILLIAM
HBNRT.
This
piece gives a good opportunity to a burlesque lecturer, as it
runs
phrenology and other oiogies. Two other male characters.
upon
a plain chamber.
Extravagantcostumes, and scene
Taken
heavers
ten tons
mainly
up
on
an
COAL
HEAVERS*
with
the
comical
old Doctor, because
of coal when
he
only
REVENGE.
had
tricks
he won't
two.
pay
There
played by
them
are
for
two
ceal-
putting in
four other
passa-
HOW
who
characters
ble
outside
of
MANAGE
TO
help
and
BABT
good
is
! don't
IT
and
and
Dr. Catnip
and
a
kitchen
are
and
lots of scope
Scene,
WINE
Full
Scene,
good.
a
A
Pompey
fancy chamber
characters
to
fancy chamber.
the
of
show.
good
funny situations,and gives
Common
spread themselves.
THBEE.
TWO,
who
odd
Dresses
plain chamber.
full
give
Seven
Bounce.
servant
Agency business,
Dramatic
exceedingly lively take off on the
characters,
introducing some
very queer
muscle
a
of
An
the
scene.
JEALOUSY.
vs.
ONE,
to
wood
vagantly
Extra-
the scenery.
three
a
dark
dresses.
Modem
female.
one
to the
One
better.
if
"
PATIENTS.
immense.''
constitute
males
all the
give five darkeys each
to
"
burlesque "Nigs"
stars
dresses.
eccentric
PORT
costumes.
A
costumes.
I
IT
two
famous
POMPEY'S
Cleverly managed
TAKE
piece for
absurdly funny
an
shabby
Two
Modem
dar-
rough
two
chamber.
a
of
imitating peculiarities
at
wench,
darkey, a stunning young
other pretty good characters.
TAKE
This
Scene
costumes.
ELBPHANT.
young
four
street, and
31
cottage.
a
dashing
keys,
Common
fua.
make
to
THB
A
THEATRICALa
AMATEUR
employment
characters,male,
and
all
fantastic.
GRIPSACK.
Amusing
would-be
actors.
glimpse
shows
a
the
colored
males.
Eccentric
modem
; OR,
SLEEP-WALKER
DARKEY
A
three
for
piece
at
doings
of
a
helps along the
Dresses, present day.
excellent
wood.
one
Scene,
OP
characters
female
two
hit at the
female
ber.
Scene, a plain cham-
dresses.
SOMNAMBTJLO.
ILL-TREATED
"
Going
characters
one
of
view
tricks
;
of
THE
room.
MOHICANS.
the Indian
:
to
all
chief
Two
character.
BOBOLINO,
Good
;
military and
Burlesque
two
daughter is a charming creature,
professor's
characters
in all.
laugh amazingly. Four
LAST
males
and
manager
from
a
funny point
great opera
of
colored professor
Phrenology, the
The
student.
and
theatrical
Bellini's
who
Four
A
is
scenes"
a
smasher.
a
chamber
Tliree
and
a
Indian.
THE
BLACK
Europe,
good.
you
Scene"
BANDIT.
know
one
"
fever.
room,
Two
showing
male,
wild
32
HOW
Italian
scenery
when
curtain
a
? WHAT
EH
piece has
lively. Scene,
four
male,
Costumes,
tourists'
and
Scene
small
a
character
female
THE
OR,
;
?
IT
PICTURE
much
Very
make
to
things
modem.
Costumes,
characters.
male
IS
one
chamber.
one
DAGUERREOTYPES
Three
drawn.
is
brigands*.
extravagant
Tliis
THEATRICALS.
AMATEUR
MANAGE
TO
GALLERY.
is made
of
a
good
very
ject.
sub-
modern
daguerreotype gallery. Costumes,
and
extravagant.
60
Five
the
**
fact
of
and
go
characters, who
male
a
make
tight." Scene,
a
male
Scene,
characters,
plain
a
kitchen.
male
two
Scene,
and
fancy rustic
a
male
street
one
or
wood,
A
character,
Two
male
"shindies."
negro
characters,
Scene,
lots
of
who
chance
and
tesque.
gro-
Intensely funny.
extravagant.
all
kick
to
Costumes,
STRANGE
A
ordinary
one
modem
exceedingly good.
make
sport.
ery,
Scen-
old-fashioned.
HOTEL.
up
any
chamber.
quantity
of
Costumes,
amusing
extravagant
dresses.
GUIDE
Three
Costumes,
characters,
including
extravagantly
to
OIL.
kitchen.
IN
is told
modern.
Costumes,
with
NIGHT
and
modem
female
one
he
of
out
HUSBAND.
chamber.
characters,
Dutch.
one
GLYCERINE
Three
fun
NURSE.
including
one
of
when
master,
Costumes,
A
JEALOUS
Has
his
room.
Costumes,
deal
immense
an
WANTED,
Four
TIGHT.
literallyobeying
servant
get
GET
AND
TO
the
THE
*'
STAGE.
Ghost."
Scenery,
a
dark
farcical.
y
wood.
PREFATORY
Too
attention
much
of the
face,so
as
make
to
illustrate the
of the person
printed directions, it
youthful in
however
The
first thing to be
should
like oil
of the
append
make-up
'*
a
the age, and
be
to
possible for
recognize him.
not
it will be
list of the
varietyof
Pearl
Powdered
Petaline,
Rouge, CarmiDe,
Powdered
Lemon
Dntcli
Pink,
Orange Chrome,
Also
etc., as
with
accessories
"
**Oreaie
gtren
^Tbe
on
Faints"
page
may
articleu
dry colors."
"
Spirit Gum,
for Eyebrows,
Pencils
for
On
(now
78 of this
Veins,
Brushes, Hares'
Puffs, ordinary and
Feet,
minia-
ture.
be indicated
may
or
Pencils
Cork,
foregoingarticles
NoTX.
Gum,
Powder
other
Noir,
Lip Rougo,
Camels-Hair
Mongolian
Prepared Burnt
complete
a
JoiuiDg Paste,
Blue, Grenadine,
and
to
character.
Cosmetique,
Umber,
make
impossibleto
things necessary
Prepared Fuller's Earth,
Burnt
the face, and
vestige of everything'
every
Dry Whiting, Prepared Whiting, India Ink, Email
or
any
make-up."
"
for every
Powder,
to
look
the
change
so
done, is closelyto shave
remove
the
drawings, given
will
friends would
to
''
make-np
represented.
appearance
moisture, otherwise
or
good job
We
"
taken
be
^^
the
to
with
it harmonize
of his face that his best
a
given
closely consulting the excellent
By
care
be
cannot
leading characteristics
one
REMARKS.
be
most
way
of
Wigs, Beards, Mustaches,
by the character
obtained
mciitioned
pages
the
in
fhe
in
65 to 72
in
nee
are
of the
to be
played.
publisher of this book.
foregoing
list
are
required
given fnll directions
among
book,
(34)
Any of the
professionals);
a
for
In
making-np
making-np
full list of
with
which
is
PLATE
1.
TO
HOW
THEATBICALS.
AMATEUB
MANAGE
3?
YOUTH.
face, for
the
Dandies
such
of
Frederick
the
as
stage.
We
personations.
The
neck
entirely covered
should
should
cheek
of the
faint
brush
of
tinge
and
under
Figure
the
the
This
the
beauties
is
increase
be
must
marked
naturally
to
This
way
change
will
metique
person's
there
the
necessary
required
of characters.
in
"
their
these
tions
direc-
the
handsomest
very
few
attempting
if
gular
irre-
an
distinctly
are
but
1,
entals,
Ori-
the
for
of
a
rectly
di-
described,
characters;
appearance
hair
under
course
eyebrows
need
no
young
their
is
is
for
in Plate
lining
Of
only disfigure
lively
from
thus
as
the
umber
burnt
in
borrowed
expression.
least
camel's
delineated
as
the
better
all the
delicate
a
Harem
the
be
the
diamond-
a
increases
lines
have
we
a
for
fine
accurately
will
produce
is all that
class
of
When
in any
them
art
followed
countenance.
of
take
below
just
just put
to
will
eyelashes,
their
line
coarse
finest
an
chin
Then
lower
1.
to
eyes
The
eyes.
particularly
almost
that
as
Rouge
powder.
red
of
amiss
eyebrows,
rouge.
draw
be
not
the
touch
and
face
the
cheeks,
lustre, indeed
a
may
of risd below
appearance
this
It
brilliancy.
dash
a
them
to
the
on
similar
and
that
white
with
used; sparingly,
a
is
as
Clayton,
Ned
Dazzle,
needed
thing
bones, where
imparts
eyes
like
be
then
the
on
be
first
characters
Ardent,
Dornton,
Hal, Young
and
Lovers
such
to
Sir Edward
Nerval,
Prince
Plumper,
allude
**
make-up
"
to
Young
the
represent
persons
Plum,
properly
is needed
little artificial aid
Very
to
alter
deemed
strokes
of
the
a
face
visable
adcos-
effect.
making-up
"
of
for
HOW
36
THEATRICALS.
AMATEUR
MANAGE
TO
MANHOOD.
*'
as
Advancing years begin to leave legible mile-marks
they pass. Characters of early middle-age,as Sergeant Jones,
"
John
Goldworthy, Major Treturae, Cassio, Hawksley, etc.,
little attention
require a
effects
of
more
and
features
few
a
about
the
and
be
as
in
led.
in
Thus
decided
a
a
alone
not
liningas
a
grave,
first to
sad
the
as
natural
delineated
thread-like
with
faces appear
of
a
in
livelygood
before
tend
downwards
sowful
expression is
upwards. This
tend
the
**
Where
the
to
be
worn,
period
they
kind
to
Whiskers, of
course,
manly look, and
skin
of time
be
give
in many
also
lower
lashes.
eyethree
of
feet,"which
the
be
look
where
a
be
a
cases
given, the
is
to
sor-
lines should
intensified
as
and
character
are
drawn
brooding,
in
if
by having a
Fig. 3. Rouge
faint
touch
recently
drooping
a
more
admissible.
of
diy
shaven.
mustaches
appropriatelyallows
thick
in most
the character
the lines should
expression is
should
and
corner
Where
years.
intended
the
the
to
cases,
some
outside
crow's
(Plate 2, Fig. 2) ;
makes
the
or, in
leading from the nostrils as shown
should be applied to the chin, also a very
This
face with
eyebrows,
line
blue.
choly
melan-
directed
beneath
the
called
maturing
natured
and
not
2, Fig. 1; closelyimitating the
Plate
marks
like
man
the neck
as
powders, applying rouge
under
the
cheeks
and
portion of
drawing the fine line with umber
Then
proceed to make two
eyes
of
age
would
cover
lines from
supposed
like Mercutio
white
exceedingly delicate
the
by
the fact of the life the person
degree by
jollyfellow
Proceed
Jaques.
picture,should be traced
length and depth of these
the
The
eyes.
governed
character,but
need
the
their
on
anxiety and other causes
expression. To produce the required appearance
the mouth
has
show
to
less
or
lines,as shown
lines should
in order
faces
the
to
at
the ends.
robust
and
jffianhood
PJ^ITE
III.
Ilfatitritfr
W^~
HOW
TO
MANAGE
AMATEUR
THEATRICALS.
37
MATURITY.
The
preparingof
still more
the face to
advanced
represent a line of characters
in years
This line of character
requiresgreater skill and care.
includes such personations
as
Henry
VIIL, BishopThomas
Cranmer, Louis XI., Richelieu,etc. In
such
characters the lines
alreadyprescribedshould
pronounced, and
more
well to make
beneath
a
in
addition
littlenetwork
the eyes.
To
in real life. The
with
the
more
character
these
cases
hair admits
we
is broken
all over
down
have
"
by
or
darker
a
unless,of
care
be
be
and
well
tures
fea-
even
oring
generalcol-
where
course,
sickness.
or
instruct the reader further
of such
it will
similar characters
face should
ruddiness
the forehead
overdoing this
study good engravingsof
to
ly
slight-
those it would
to
of lines about
avoid
be
For
If the natural
on.
be
produced by
be nicely
judiciouspowdering;
cases
a wig should
adjusted to harmonizd with the form of the face. Wigs
for this kind of personification
known
worn
are
technically
half bald."
We
need
as
hardly say that the wig should
fit perfectly,
and be certain to remain
in its place. Prepare
ing
to put on the wig by carefully
combing and smoothly brushtreatment, grayness
can
in other
**
the hair behind
the
and
ears
to the
back
of the
head.
Previouslyto putting on the wig put a small quantityof
the
joiningpaste both on the front of the wig and on the
forehead ; then placethe wig in its position,
rubbing a very
littleof the joining paste on both wig and forehead where
be thoroughly
The
face and neck must
they just meet.
covered
with prepared fuller's earth,while a slighttinting
of
every part of forehead, lower
part
rouge should spread over
"
"
face,and
of the
should
should
the
be
then be
The
the neck.
of the
the
If it is necessary
time
to affix them.
wig and
the forehead
exactly. A strong red
cheeks and justunder the
hue
same
given to
skin of the
to
put
But
deemed
let them
sufficient,
of the
"joiningpaste,"while
be
a
on
false
eyebrows
if the
natural
rubbed
with
now
eyebrows
a
small
tint
eyebrows.
is
are
portion
of prepared whitsufficiency
HOW
38
make
will
ing
Next
the
Take
the
burnt
the
outer
draw
Three
four
or
and
between
just
reaching
the
nostrils.
from
the
comers
Plate
is
middle
the
be
point
should
lead
A
least
given
to
the
umber
the
bit
3.)
colored
the
whole
Where
lip,
with
lines,
face
be
while
with
beard
in
the
lip
by
A
powder.
2,)
be
drawn,
its
spring.
the
mouth
away
engraving
mustache
hollow
chin
and
just
the
1)
(Fig.
nor
the
blue.
etc.,
pearl
in
the
3, Fig.
lead
likewise,
used
powdered
joinings,
of
comers
neither
should
takes
depicted
as
Plate
should
should,
line
of
forehead
nose
the
toward
mouth,
upper
the
the
fore
be-
comers
ones
which
at
faint
the
short
two
described
(See
on
lead
which
lines
inner
bones.
made
be
the
of
burnt
over
up
should
3, Fig.
wom,
cheek
the
draw
pencil,
have
the
of
hollows
the
we
as
eyes,
the
darken
fine
very
3.)
(Plate
and
the
and
from
eyebrows
to
from
(See
the
lines
line
the
lines
two
the
curved
of
towards
tending
eyes,
a
eyelashes,
lower
comers
then
;
A
the
using
then,
;
made.
in
and
desired.
be
may
brush
hair
eyebrows
as
be
to
are
camel's
umber
under
line
from
lines
the
white,
or
gray
thick
beneath
with
eyes
look
appropriate
just
THEATRICALS.
AMATEUR
them
moderately
a
parts
MANAGE
TO
in
the
should
nice
delicately
be
finish
can
ing
touch-
PLATE
IT.
HOW
TO
AMATEUR
MANAGE
of the
39
LADIES.
ELDERLY
Ladies
THEATRICALS.
aufait in all that pertainsto affairs
would
be only gildingrefined gold to
generallyare
toilet ;
it
so
where
givethem any instructions,
except in cases
to
and the lovely,
for the time being,condescend
role of the old and
the
the
assume
young
the
homely.
genteelcomedy personationsthe most delicate powder
the face
should be powdered over
(Petalinefor instance)
For
and
throat.
The
cheeks
then be touched
should
with rouge
part of the cheeks, approaching
upper
close to the eyes, should not be neglected as its effect is to
render the eyes particularly
livelyand bright. The chin
or
The
carmine.
"
and
the
under
The
eyes
be
eyelidsmust
will look
up a
avoided, otherwise the
carefully
though
as
also be touched
should
should be
very faint line of burnt umber
lower eyelashes(seePlate 1, Fig.1),and
lead from
either side.
These
of the mouth.
be
on
middle
the
with
side
some
four lines ; while
from the inner cor-
bonces. Under
the cheek
fine lines ;
the throat
hollows
three
under
one
of the upper
of the lipand the mouth's
umber.
lip,half
comer.
or
four
the lower
in the middle
burnt
on
rection.
eyebrows' di-
of the nostrils towards
edge
mouth, and
darkened
in the
be made
three very
The
creases.
each
or
lead
have
should
Round
of the
must
line
latter should
forehead
eyes should be two
lead from the outer
comers
three lines should
middle, with very lightones
quitedistinct lines must
of eyes tending towards
represent
the
comers
thickest in the
The
bers
A
of the eyes (Plate2, Figs.2 and
the eyebrows,three more
should be made
(Plate
the outer
3),between
3, Fig.3),the
three
tenance
coun-
just been shed.
paintedbeneath
had
tears
little.
the
line should
the
corners
lines may
lip,at the
of the upper
lip,
Draw
faint
a very
the
way between
If required,
darken
cosmetique. Any harshness in the
lines may be softened by going over
the whole
face lightly
with Petaline powder. It is optionaleither to wear
a gray
powdered, which
wig or to have one's own hair plentifully
eyebrows
with
HOW
40
imparts
a
hands
In
of"
stronger,
tint
like
and
and
hair,
2),
spectacles.
in
in
some
or
a
with
lines
and
taken
though
an
elderly
the
cap,
addition
and
style
be
in
put
on
a
commoner
of
the
The
natural
some
powdered
to
"
Plate
(see
worn
cases
of
where
ters
charac-
make
old-fashioned
be
somewhat
be
may
scolds.
an
may
plaster
to
not
should
wig
ladies
to
grenadine.
court
coloring
town
or
characters
high
For
effect.
with
a
court
applied
be
touched
style,
black
of
should
just
"
Scandal
demireps
arranged
"
false
the
THEATRICALS.
Petaline
lips
pleasing
being
care
look
the
spots
kind
be
and
for
the
to
it.
to
School
coarser
may
;
beauty
add
they
AMATEUR
look
arms
and
worn,
MANAGE
gray
and
plays
or
TO
hair
a
front
6,
gray
"
Figs.
old-fashioned
of
1
Old Jife
i:
s
HOW
TO
AMATEUlf
MANAGE
attention
reqairesgreat
"
the face in order
characters
for
to
and
old
extreme
up
make-
"
Such
age.
Dornton, Danville, Hans
Harkaway, Eccles, Lear,
Mr.
as
littleskill to
some
represent
instance
41
AGE.
OLD
It
THEATRICALS.
Matthias, Daddy White, Max
with prepared
the face entirely
Polonius, etc.
First,cover
foller's earth.
Second, adjust the wig, which in this case
should
be
be
the
on
The
one.
thick
camel's hair brush
parts of the eyebrows,and
This is done
brush then
the
ones.
to
way
"
in the
should
ed
joinit is alreadydescribarticle on
Maturity." Every part of the face
ing
brightercolorrouged, with a somewhat
slightly
dling
cheeks, and a lighttint on the eyelids. A midbald
a
with burnt
paintfour
lines
leadingfrom
from the inner
corners
eyes, and
in
One line should
lead down
cheek
bones
; three
thin
eyes.
of a
the finest kind
With
umber.
under
pf the
hollows
the
about
for the
used
is then
the outer
thick
rather
three
the
of
corners
of the
direction
should,as it were, vein the
the eyes.
appear directlybelow
lines
eyelids
; while two should
(See Plate 5, Fig. 1.) Proceed
painta rather strong line
in the centre
of space J)etween the eyebrows,an 4 a somewhat
shorter and fainter line each side of it,justcurving
five
toward and almost touching the eyebrows. Four
or
the forehead,four on each temple^
lines should be paintedon
bent round
A curvthe forehead.
so
as to jointhese on
ed
line should then be painted to lead from the nostrils toward
the mouth's
from
and
the
corners
corners.
to
Other
of the mouth.
lines should
The
hollows
lead
in both
away
lower
the appearto give them
ance
upper lipsshould be darkened
of greater depth,while a thin line should be drawn
on
each side of the upper lip,
as
nearlyas
the middle of the lip and the
The
object of this
look,so generallyan
old age.
should
is to
impart
to
possiblehalf
corner
the
to
giveit a
tween
be-
of the mouth.
lipsthat drawn-in
extreme
or
senility,
accompaniment of
(See Plate 5, Fig.2.) The hollow
be darkened
way
of the throat
fallen in look ; three
lines
42
should
MANAGE
HOW
TO
be
curved
AMATEUR
either
on
number
bone ; the same
the throat; while one
round
jaw
chin.
Where
beard
blue should
Pearl
powder
part of the
and
be
should
face and
might
otherwise
cheeks
should
THEATRICALS.
cheek, going down below the
of lines should,also,be drawn
line should
mustache
pass
beneath
the
dispensedwith,powdered
used upon the upper lipand the chin.
be applieddelicately
next
over
every
neck to modify any roughness that
appear.
Where
are
it is
desirable
that the
fallen in or shrunken, use a
very much
efantimony; this will produce the desired fect.
appear
littlepowdered
\
FLATE
V/.
Deitt/i
HOW
TO
THEATRICALS.
AMATEUR
MANAGE
43
DEATH.
When
has to be counterfeited
deatk
skill to make
up
the
it
requiresreal
There
couDtenauce.
should
tic
artisbe
no
of any failure to produce the righteffect. While
possibility
the feeling
of awe
tion
engendered by the appearance oi dissoluis very deep and even
hallowing^the least short-coming
make
a
or
over-doingin the matter
tragedy sink into
may
a
farce.
In
all characters
should
be
not
so
in the last
Of
ton, in the
and
second
decided
'*
and
repn^sentedhas to
person
speak,the death-like appearance
the
as
where
the party enters, apparently
agonies,and immediately expires.
first class such
the
King Lear^
XL,
stage and
the
about
move
where
Virginiusare
Man
in the
Mathias,
in The
Beverly^ Werner^
prominent examples. Gaa"
Mask," Danny Mann, JLcniis
characters
Iron
Bells,are
as
notable
instances of the
class.
Prepared whitingshould be evenlyspread over the throat
and face ; then apply,with a hare's foot a coloringof Dutch
the eyebrows, below
the eyes,
to fix under
pink. Proceed
and into their hollows,with powdered antimony. (SeePlate
be best appliedby tying a bit of soft
6, Fig. 1.) This can
flannel around the end of a pencil; being very careful not to
hare's foot
have the least bit of it touch the eyelids. A
be used to give a slightcoloringwith powdered
next
may
in the throat, cheeks, and temples.
antimony to the depressions
sides of the nose, between
the eyebrows, over
The
the chin should
the upper
be, also, slightly
lip,and even
touched with the powdered antimony. (See Plate 6, Fig.
2.) Then a slighttinge of chrome should be put on the front
hollows
of the nose, on the nostrils and on the eyelids. The
at
the
centre
umber.
corners
of
of the
moutii,as well
lip should be
upper
the
blue
Powdered
on
the
as
the
darkened
hollow
in the
with
burnt
lips (but only just a
always accompaniesdis-
touch),imparts that ashy tint that
Lines about
the forehead, the month
Bolution.
and
the
HOW
44
TO
should
eyes,
MANAGE
be
accordingto
THEATBICALS.
AMATEUR
made
more
less
or
the age and circumstances
of the character.
death
heavy and striking,
precedingthe supposed
/
rCCENTRIC
In
AND
COMEDY
LOW
CHARACTERS.
almost
every comedy and farce,and
notably the grr.ve diggersin Hamlet
"
found
one
or
low
more
of these charac^jrs
and
owing
not
the
to
add
greatlyto
there
"
the amusemoct
littleof the ludicrous effect
a
perfectionof
dies
trage-
some
to
are
be
eccentric parts. Some
and
comic
in
of
an
dience,
au-
they produce ia
make-up. Of such acto.-s
(the elder),Kilner, JacK
thoir
Listen, Finn, Matthews
Reeves, Eberle, Herbert, etc., in the past. In the present,
Harry Becket, Sol Smith, Gus Williams,Emmet, and a host
were
of similar
stage.
Still not
performers both
All
these
the
on
mentioned
regularand
were
little of their talent
or
are
men
the
variety
of
talent-
displayedin the original
and artistic way in which
ing
they made-up for their most telldation,
performances. For this styleof character lay a founit were, by coveringthe neck and
a ground-work as
Then
fece entirelywith prepared fuller's earth.
apply a
slightcoloringof rouge to the eyebrows, the cheeks,and a
The
the middle of the forehead.
touch on
mere
period of
life young,
ing,
middle-aged,or old will be managed by linthe several
headings in preetc., as directed under
vious
a
was
"
"
parts of this work.
bald,"" Bald," are
"Curly," "Scratch,"
"Half-
given to the wigs worn
by
these characters.
Wigs can always be got in colors,to suit
the ideas of the performer,as red, black,white,
gray, and
iron gray.
For
comic
notaries, old-fashioned
lawyers,
and similar characters,
have the face rather pale than ruddy,
usinga black or iron-grayhalf bald wig, with whiskers of a
suitable
color.
while
The
the
names
eyebrows
should
fhe lines of the face should
be
rough and
be marked
ling,
beet-
in accord-
HOW
46
MANAGE
TO
AMATEUB
CHARACTERS.
HEBREW
For
of
Jews
a
the face with
or
dignified
tragicaspect begin by covering
preparedfuller s earth ; Dutch pink should
follow, appliedwith
The
hare's foot.
a
cheeks
should
ceive
re-
A
of rouge.
jet black wig, bushy
heavy black eyebrows are generally
the least touch
whiskers, and
black
THBATBIGAL"
To give the
for characters of this kind.
thought requisites
hooked
that peculiar
nose
usuallyfound in the
appearance
the eyebrows, above
the
Jewish
race, the part between
touched with burnt umber ; while
bridge,must be lightly
the lines marking the nostrils should be very stronglymarked.
(SeePlate 4, Fig.3.) Burnt umber under the eyebrows
the indications of age,
to the v"^rious
appropriatedirections.
adds to the desired effect.
For
a
low
.
grade of Jews,
old clothes
should
and
be
INDIAN
The
Indian
men
and
somewhat
the under
as
usurers,
sheriff's
fer
re-
ties,
depu-
like,the foregoingdirections
exceeded, the lines being deepened,
lipmade
AND
to
such
the
red with carmine.
very
MULATTO
red coppery
is best imitated as
warm
paintedbelow
As
color
CHARACTERS.
peculiarto
so
follows
the under
:
The
the American
line should
be
first
with India Ink, then proeyelashes
ceed
the other marks as alreadygiven to create
to put on
the impressionof the desired age, as under
headings of
and monYoiithyMaturity and Old Age. Mix cold cream
golian
and spread entirelyover
the face and neck ;
together,
color brightlywith carmine
the cheeks ; darken the eyeon
brows
with cosmetique. The hair should be long,coarse,
For characters like Othello
and black for Indians.
straight
and Zauga the mongolian should be darkened
with a slight
mixture
Where
of preparedburnt cork.
it is inconvenient
colored
silk
to have the hands
with the same
ingredients
Mulattoes
glovesas near the hue as possible
may be worn.
may
be treated in the
same
manner.
HOW
TO
MANAGE
firstthing in
Laud, is to
to
stick them
then fitted
making up
a
rub
joiningpaste
down
in order that
invisible.
ery
the Flow-
of
representative
eyebrows,
into the natural
they shall be rendered
fastened to
with pigtail
skull-cap
The
the head.
on
47
CHARACTERS.
CHIKESE
The
THEATRICALS.
AMATEUR
A
used
harems foot is next
to
most
al-
it is
cover
compound formed of three
pink and one part mongolian,the join of the
parts Dutch
Then
attended to.
to produce
skull-cap
being particularly
the half-closed,
almond-shaped eyes, a dark line should be
face, neck
drawn
and
from
the inner
also appear
the
nostrils
throat
beneath
outer
with
of the eyes ;
comers
the under
be
painted
such should
one
eyelashes,
going
to
appear
in the middle
yond
just be-
on
hollows
The
of the eyes.
comers
should
a
of the
capacious.
more
the upper
over
(Plate4, Fig.4.) The hollow
Either painted or false eyebrows
lipshould be darkened.
in the form shown
in our illustration justreferred to should
be fixed. The hands and face should be of nearlythe same
hue.
GERMAN
CHARACTERS.
of the Saxon type^more
are
or
majorityof Germans
make
less pronounced. To
up persons of this nationality
spreadprepared fuller's earth over the neck and face ; then
the
the fuller's earth, on
be spread over
should
rouge
burnt
cheeks very thinly,
to produce a fair complexion. A
The
line should
umber
(See Plate
hair
combed
ought
to
should
be
directions
a
and
be
drawn
1,Fig. 1.)
smooth
wear
mustache
then
behind
half-bald
the
beneath
A young
the
wig, and
An
eyebrows fixed
some
lower
should
man
ears.
in
the
cases
to match.
have
elderlyman
a
big grayish
The
Refer
with powdered blue.
touched
faintly
previouslygiven and platesfor managing
different ages.
eyelashes.
his
chin
to
the
HOW
48
MANAGE
TO
AMATEUR
FRENCH
There
is
CHARACTERS.
difference in the
hardly any
of la belle JFrancaise
THEATRICALS.
from
make-up of natives
English or Americans
;
that of
except that the complexioasshould
the person
well with
the
same
a
The
the
heavier.
eyebrows somewhat
imperialshould be black,unless
be
in
little darker, and
and
wig, mustache
where
cases
the
age
of
Powder
calls for gray or white.
neck and face
over
prepared fuller'searth ; then spread lightly
tinge of ruddy rouge.
a
The
cheeks
should
have
Paint eyebrows with cosbright touch of carmine on.
elevated
slightly
metique,and give them an arched form
A good strong burnt umber
line should be
in the centre.
under
the lower
drawn
eyelashes. (See Plate 1,Fig.1.)
should accompany
A delicate imperialand mustache
able
a suitperial
and imwig. For coarse, brutal men, the mustache
should be largerand jetblack,where gray or white
is not
The
demanded.
complexion should be somewhat
a
"
darker.
NEGRO
The
CHARACTERS.
for
Ethiopiancharacters is comparatively
A small quantityof prepared burnt cork should
be
easy.
softened between
the palms of the hand, and then the face,
throat and neck well rubbed
with it. To
give a lively,
be stronglyapplied to the
cheerful look carmine
must
The curly,woolly wig comcheeks, and beneath the eyes.
pletes
the make-up. If it is wished
to represent an
aged
make-up
it will be necessary
in
ordered
to put the lines on
as
Old Age.
This should be done
aiticle on
rather heavily
negro,
with India Ink
beforethe
bleaches,as it were,
is needed
to
eyebrows
and
to
on
make-up an
wig
are
on
the
cork is put
on.
As
the Negro
with age, less of the black coloring
The
old darkey than a young
one.
to
expireon the stage,a
the eyelidsand cheek
blue
burnt
lips.
be white.
Where
trifleof Dutch
bones, and
a
the character is
pink should
faint touch
be used
of powdered
HOW
TO
THEATRICALS.
AMATEUR
MANAGE
49
CHARACTERS.
SCOTCH
a
are
personalcbaracteristics of the Scotchman
less ruddy tint ; the hair
or
lightcomplexion)with a more
light,and the beard and whiskers approaching red. To
give the right hues to the face,etc., prepared fuller's earth
be evenly spread over
neck and face ; over
this put
must
The
Qsual
the very
faintest
pretty well
where
dark
he
and
joiningpaste to
in like style.
some
burnt
umber
which
mustache
with
make
Let
the
he
line beneath
be
any
ing
color-
the
has
pf^rformer
does
pot
stick.
the carmine
them
be
wish
to
carmine, first nibbing in
with
them
powder
can
where
cases
should
should
wig
red to harmonize
In
complexion.
cbeeks
The
the
course
flaxen and
whiskers
remove,
Of
rouged.
between
of the
tinge of carmine.
with
harmonize
the lower
Do
the brows
eyethe wig. A
is also requieye-lashes
site.
(See Plate 1, Fig. 1.)
Where
it is wanted
the lines about
with
the
directions
the
the age of the person represented,
be put on in conface should
formity
to indicate
given
under
the
appropnat*
headings.
Prepared
the neck
a
pink
fuller's earth should
and
hare's
face ; then
foot ;
with
it.
carmine, while
made
shapeof
rouge
should
the
The
be
a
cheeks
should
strong decided
be
applied with
least tint of Dutch
brightlytinted
line of burnt
umber
with
should
eyelashes. The eyebrows should
cosmetique; while powdered blue faintly
lower
lines to indicate age should be
previouslydirected in plates,etc. The size and
upon
as
dark
be first spread evenly ovet
previously mixing
the
appear under
with
be darkened
shows
COMPLEXIONS.
SPANISH-LIKE
DARK
the chin
mustache
The
vary with
the
period.
50
HOW
The
TO
AMATEUR
IRISH
CHARACTERS.
average
gan,
Pat
and
neck
and
hare's
foot.
etc.,
then
been
To
give
exposed
carmine
burnt
umber
line
of
bit
a
For
villains
should
be
a
and
eyelashes,
of
carmine
corners
of
place
the
of
the
touched
with
brush.
very
heavy
of
and
powdered
the
eyebrows
the
Worn.
Whiskers,
also, sometimes
order
A
appearance.
to
dark
a
or
worn
and
chin
throat,
in
impart
be
"
put
a
on
give
red
lip
never
of
must
an
jet
be
black
hair
mustache
the
or
look.
and
and
wig
below
affixed
rubbed
unshaven
be
camel's
be
eyes
at
hollows
sized
the
the
drawn
should
should
under
lower
take
be
frowning
cross,
there
the
should
medium
them
or
under
eyebrows
eyes
upper
fringe
^but
a
the
above
to
should
blue
with
umber,
down
the
wig
that
should
a
character.
2, Fig. 8.) The
of
part
the
pink
Lines
(See Plate
curled
except
line
Dutch
cheeks.
under
the
burnt
rouge
with
eyes.
Low
hair
touch
the
on
umber
a
already
as
tightly
apply
face
eyelashes
appear
completes
directions
burnt
A
a
cheeks
the
lower
to
1.)
generally
reddening
and
eyes
1, Fig.
strong
a
made
if the
as
give
the
be
next
same
very
Under
tint.
the
weather,
with
lightly
look,
face
fuller's
prepared
ready
rudest
whisker
a
and
The
:
applied
is
as
Hoola-
Larry
manner
with
rouge
the
Plate
this
in
covered
should
(See
O'Rourke,.
up
rough
a
to
warm
described.
got
are
such
characters,
amusing
Terry
dark
the
good
and
Andy,
thoroughly
are
earth,
had
Handy
Rooney,
these
of
run
Miles,
Paddy
THEATRICALS.
MANAGE
A
lids,
eyewith
enly
slov-
should
be
chin
are,
goatee.
HOW
TO
MANAGE
AMATEUR
AMERICAN
THEATRICALS.
CHARACTERS.
littledifference exists between
But
51
the American
man
gentle-
and that of Englishmen. So that our
appearance,
previous directions and platesapply just as well to their
s
mustache
and
wears
a
make-up. Frequentlyan American
imperial but this is not universal now-a-days by any
The
cheeks should
be so
not
means.
highly colored in
"
the chin may
be made
to
It is onlywhere green countrymen
but
Americans,
darker.
appear
are
little
a
represented
that any difference exists. For such
the face and neck should be powdered with prepersonages
pared
fuller'searth,a littledab of rouge on the cheeks ; under
in low
comedy parts
ed.
eyelashesa burnt umber line should be paint(See Plate 1, Fig.1.) There should be a straggling
of hair on the chin, and a wig of long slick dark hair
the lower
bunch
should
be worn.
Outlaws
generallyrepresented
as
being of a sallow, pallidcomplexion. To produce this
the face and neck
with prepared fuller's
appearance, cover
earth,then put on a coloringof Dutch pink,and a touch of
beneath
the
The hair, etc., as in preceding
rouge
eyes.
it is wished
to
give a dark, saturnine
paragraph. Where
look, mongolian should take the placeof Dutch pink. The
tions
eyebrows make lowering with India ink. For other direcsee
appropriateheadings.
and
TO
Where
similar characters
MAKE
SICKLY
it is wanted
to make
are
COMPLEXIONS.
the
face look
sad, wan,
lid,
pal-
take
and
whitingjusttinged with Dutch pink. The cheeks
colored with rouge.
dered
Poweyelidsshould be delicately
low
antimony used as a shadingimpartsa cadaverous holcheeked
look.
Paint under the eyebrows and in the
hollows
lines and
as
of the
eyes with burnt
tintingshould be done
alreadydirected
in
umber.
The
accordingto
foregoingpages.
rest
of
the
different ages,
*
HOW
52
TO
MANAGE
AMATEUR
CREOLE
For
"West
India
THEATRICALS.
CHARACTERS.
Creoles
the face should
be covered
with
prepared fuller's earth. The hare's foot should be used to
add a slight
coloringof mongolian ; carmine should brighten
the
der
cheeks, a line should be painted beneath the unally
eyelasheswith India Ink. The eyebrows, if not naturbe darkened
with cosmetique. The
dark, must
tache
musand wig must
be black.
The
for
principalreason
first using the fuller'searth is that the mongolian is easier
to
if put
remove
on
LIVING
CHARACTERS
SUCH
AS
AN
OP
OUT
COUNTRYMEN,
GOLD
BERMEN,
DIGGERS,
DOOR
SAILORS,
SOLDIERS,
LIFE,
LUMETC.
"
"
To
that article.
over
make-up this class,the following rules should be
followed : Prepared fuller's earth may be powdered over
all over
the neck and face,then a dark rouge
put slightly
this
again. This
same
of
kind
is to
give a
coloringshould
sun-browned
be used
The
appearance.
under the eyebrows,
brightcarmine should be justtouched on the cheeks.
umber
Under
the lower eyelashesshould be drawn
a burnt
line,while a little powdered blue should mark the chin and
neck.
Apply a littlecosmetiqueto the eyebrows. Refer to
the preceding directions for points about liningthe face,
etc.,which should be done accordingto the rules laid down
under the various headings.
while
CLOWNS.
In
the
comb
first place,carefully
back
the hair "slick"
tips of the fingersdipped in
the placeabout the nostrils
preparedwhiting cover
entirely
The
be touched.
and mouths
not
lips,however, must
behind
the
ears.
With
the
HOW
54
MANAGE
TO
MANAGING
THE
and
Dog fighters,
brutal
a
To
carmine'.
only necessary
from
the
to
have
of
an
corner
semi-comical
give a
paintone
line
twist
to
running down,
To
give the
of the teeth had
if some
of the
mouth, while
enlargedlook by being painted
of the mouth.
corner
as
the
from
MOUTH.
depraved tastes and
are
supposed to represent their
expression imparted by painting
the needed
lipshould
AND
persons
features
strong line down
the lower
with
have
can
THEATRICALS.
TEETH
similar
habits,whose
natures,
AMATEUR
phiz,it
a
is
the other up
the
mouth
pearance
ap-
out, it is the best
come
plan to wipe the teeth intended to be operatedon, so that
Then with a delicate
remains.
not
a
drop of moisture
In two
Noir.
three
or
brush, paint them with Email
seconds
off
this will be completelydry, and will not come
by being brushed by the lipsand tongue. It is harmless
to
the
teeth,and
can
rubbed
be
off with
a
coarse
bit of
towelling.
WHISKERS,
Eyebrows,
feir, red
MUSTACHES
mustaches
EYEBROWS.
AND
whiskers
and
are
made
to
appear
with
thoroughly rubbed
joiningpaste, then chrome, carmine, or prepared whiting is
dark
rendered
applied. Light eyebrows are
by being
Where
false eyebrows are needed,
paintedwith cosmetique.
Two
:
they are made in the followingmanner
pieces of
color,an inch in length,are rolled
crape hair of the needed
of spiritgum.
affixed by means
the hands, then
between
to the exact
shape with scissors.
They can be trimmed
of crape hair and fixed on by the
False whiskers are made
me
same
or
gray,
and trimmed
jocI,
It often
happens
color
thair orisrinal
white.
as
he may
So
that
in the
in old
long after
that the person
choose.
first
by being
can
same
men
way.
the
eyebrows retain
the hair of the head
whiten
the
has grown
eyebrows
or
not
Haw
TO
VALUABLE
REGARD
TO
taken
the
from
TO AMATEURS
ORATORY
Joy, Warm,
OF
THE
conscious
"
look, air and
AND
AND
Not
ACTING.
the character
a
in
word
until
mirror
a
to
conceived
make
Forehead
and
opened, raised; eye
raised; new
height; breast
braced.
majestic,
imitated
If
Fear,
on
smiling;
neck
inflated;limbs
it.
Nature's
words) ;
and
look
hard
limbs
nerveless;throat
and
tone
the
felt
and
natural.
seem
lax;
"
of
of its sincerity.
sure
genuine, voice will prove
till they
Grief, Muscles
(slow time; dwell
convulsed
tlie
upon
passages
PASSIONS.
note
application
utter
Look
in the character.
marks
ACTORS,
in
expansion of the heart,vivacity
For
accent.
language.
stretched
$6
leading passions and their appropriate expression,
an
eminent
authority:*
ACTING
the
THEATRICALS.
followingbrief,energetic, and expressive
subjects of
are
AMATEUR
SUGGESTIONS
IN
The
MANAGE
austere
of suffocation.
; paroxysm
Muscles
lax ; voice
This rests
the voice
plaintive
; eyes wide, not
fixed ; mouth
still; steps shifting,
nerveless.
apprehensive,
Not a word
until idea felt,look adapted,and nerves
express
it. Not hurry over
language,but adapt as you proceed,or
"
verbal.
not
at
turn,
every
a
chance
to
cover
re-
these penTo audience
expended breath unnoticed.
sive
pausings will appear strong and natural attitudes of
Otherwise
of the soul.
thinking,and the inward agitations
mere
memory.
spasm, beats wildly,or fainting,
death-like pallor. The breath is short,labored ; chest
Terror.
then
"
The
heart with
tion
eJevated ; the nostrils dilated ; gasping and convulsive moof cheek ; gulping of throat ; eyeballs
of lips; tremor
protrude,or roll,the pupilsenormous
brows, elevated
on
;
"
Actin*? and Oratory.
; the
utmost
and
clenched
hands
J. B. Frobisher, author
to
Designed
of "Voices
for
and
;
great beads of
muscles
sweat
rigid,or
vulsive
con-
opened, alternately;
public speakers, teachers, actors,
Actions,'' etc.,etc
often
etc.
By
HOW
56
TO
twitching;arms
THEATRICALS.
AMATBUB
MANAGE
spread to
danger,or
avert
thrown
wildly
the head ; muscles of neck and shoulder move.
Xow".
(Joy and Fear.)Tenderness, expanded softness in
oyer
"
the heart ; nerves
to high pitch of joy ;
hraced with warmth
looks tender ; fear and pleasure
; not "iint,harsh,insincere,
declamatory.
Sad look ; braced,animated gesture ; at firststrain
for joy,then add sad look,springson the muscles
as
Pity.
"
muscles
(forjoy), and
braced
for
yet shake hearts,even
Scorn.
"
Hatred,
"
The
sorrow.
opposed to
paint to the
nerves
Then
and
look
distress of
ear,
looks,the
more
tiful.
beau-
strain in
pausing,
greatest passions.
never
in the
stronglythe
more
any
^Muscles slack ; contempt^ smiles.
Muscles braced; sad look ; eyes averted.
by propensionin the eye ; disturbed
^Impatient,
Anger,
anid threatening
air ; voice strong, swift,
interruptedby high
sinews braced ; the blood in
swells of chopping indignation,
"
violent motion
sometimes
Rage,
; set
teeth ; wide
nostrils ;
seem
to
invent ;
hurry.
Heart
active ; face
red, purple or deadly pale;
breath labored ; chest heaves; wide nostrils,
quiver; teeth
set, ground; almost ftantic;gestures like fighting.
Relaxation
of the muscles is seen
in the dropping of the
excited,
jaw, in the collapseof all the organs not specially
in the tremblingsof the lipsand other parts, and a general
The
heart and
loosening. The expirationis enfeebled.
circulation is disturbed ; there is either a flushingof the
face, or a deadly pallor; with a cold sweat, a creeping
action that liftsthe hair.
All parts feel the depressinginfluence.
"
Increased
of the
the violent
of the
tension,is shown
scalp,the
movement
ing
in the stare of the eye, the raisinflation of the nostrils,
the shrill cry,
aggerated
protectionor flight. It is an exattention,and an intense occupation
of
fixingof the
thoughts in the same
of
exclusive
direction.
Whatever
expression,or of volition,are suggested by
these thoughts, have a similar intensity.Such
a
physical
condition is accompanied with great depression. The
pros-
movements
HOW
MANAGE
TO
AMATEUR
affects the sensitive
tration
THEATRICALS.
; the increase of
organicpowers
is in the movements,
which
57
lesser
have
sensibility.
Mentally,terror is a form of massive pain. The depression
of severe
frightis for all the time, overwhelming. It
is a form of formidable
suffering.It is accompanied with
energy
great excitement.
By mimicking
the
looks
or
frightened,
daring
the
will
mind
the
turn
imitated.
to
men,
passion
Darkness
has a great effect on the passions,
in producing
the idea of the sublime.
At nightthe greater the illumination,
the grander. In historical ideas,gay or gaudy drapery
is never
but
sad, as black,brown, or deep purhappy ;
ple,
The awful striking
of a great clock in
should be used.
the silence of the night. Everything great by its quantity
be one, simple,entire.
must
necessarily
Intoxication,
In actingintoxication,
but retain reamuse
spect.
of angry,
"
Relaxation
real.
One
drunk
of
limb
legs,or grimace.
whole strengthis used
Drunkenness.
Not
face.
tries to appear
to lift the
and his
and
humorous
sober, tries
His mouth
not
to
reel,or
merely lacks
to command
but
tone
motion.
The
if falling
asleepwith
eye heavy as
forcible elevation of brow to counteract
half unconsciously.
; resisting
"
Puzzled
face,with
Relax
appearance.
slightparalyticobliquityof
lower
mouth.
part of
Degraded
expression.
Laughter. Full breath thrown out in jets.
In the higher,
nobler passions,
the upper lip,
nostrils and
brows are most
effective ; the angle of the mouth
the next
important.
A
Sitffocatimi,
sudden, wild energy of every feature.
Contractions of throat,with gasps and spasmodict witch ings
The
of the face. Heaving chest and shoulders.
hands
stretch and catch like 'a drowning man.
is an
There
pressive,
op"
"
intolerable sensation
utmost
The
exertion.
the effect of
"
Death.
JFhinting,
The
Mye,
"
In
"
at
heart.
face goes
beyond
vocality. The
The
eye
It
turns
eye
seems
the voice
like the
and
creases
in-
is the chief feature.
up, under.
acting the passions the
eye
is the most
ex-
HOW
58
TO
It is the eye of his opponent
pressive organ.
watches.
Is is the
victim
staked
has
note
we
effective
It may
flash
may
his all at
is worth
use
attitude.
that
eye
be
Uhimpassioned 2LCtiugy
"
modulated, medium
Exclamatory,
of
of
gesture
be
ways
refined
depends
it
or
;
The
scene
the
It is not
exact
of rage, climaxes
enough
to
the
represent
and
graces
void
transition of
and
from
by forgetting
gesture, all betray
tV^received
but
every
them.
being
or
;
affectation
of that
discomposed
even
in
straint
re-
the
ure
pleasif
a
create
beauty in the part, but the
Not
enough to know how
by just rules
neither
to
above
give
nor
a
gesture,
passionis enough
a
then
degree,
below.
sudden, but
sometimes.
A
quick motion,
be as full of meaning
displayof feature, can
clamorous
passion.
but the most
Acting after all,is not reality,
even
the
Not
them.
whisper, a glance, or
and
and
of all affectation.
except
grace
never
nature,
start,a pause,
mere
a
to know
passions,but
circumstances
execute
being
Some
notes.
fall.
manner
raise
with
act
approving, gives
carriage.
should
free and
be
must
fear of
of those
presence
former.
per-
mechanical.
motion, air,step
through
in
stiff nor
possible to
audience.
the
on
levd, properly
fuUy distinct,
tones
Grief,rapture, violence
"
ear, neither
It is not
above
or
potent
a
notes.
surprise,
upper
Passages of gloomy rage, despair,revenge, lower
from a knowledge of author
Emphasis must come
A
for
notes.
Stage deportment
to
the actor
widely opened
powerful expression.
Acting has an amazing varietywhich
a
of
a
of
means
of
when
Its cultivation
that
than
more
multitude
a
follows
It is the eye
nearly closed, or
in
the swordsman
gambler
the stage.
on
perhaps
roll,and
or
the
play.
in his silence
even
THEATRICALS.
AMATEUR
MANAGE
restrained.
voice
the
as
delicate
scarcely
minutest
the
cultured
most
blance,
sem-
HOW
TQ
HAMLET'S
Tlie
Bard
great
that have
cal declamation
them
read
hooks
ADVICE
Nature
of
THEATRICALS.
AMATEUR
MANAGE
been
ever
attentively,and
PLAYERS.
TO
the
best
penned.
Let
has given
grip
"9
us
them
in theatri-
lessons
''
his memory
to
teur
Ama-
the young
with
of steel."
Speak the speech,I pray you, as I pronouncei
the tongue ; but if you mouth
to you, trippingly
it,
on
of our playersdo, I had as Hef the town-crier spoke
many
Hamlet,
it
as
Nor
lines.
my
hand, thus
and,
; but
Oh,
Bess.
not
saw
the
with
much
air too
your
all gently : for in the very torrent, tempest,
of passion,
you must
say, the whirlwind
use
I may
as
and
acquire
do
beget
temperance, that may
a
it offends
to
me
the soul
to
give it
hear
a
smooth-
robustious,
periwig-patedfellow tear a passionto tatters, to very rags,
the ears
of the groundlings; who, for the most
to split
part,
shows
and
are
capableof nothing 'but inexplicabledumb
noise : I would
have such a fellow whipped for o'erdoing
Pray you avoid it.
Termagant ; it outherods Herod.
First
Player. I warrant,
Be
Hamlet,
bo
not
too
tutor
your
:
the action ; with
your
honor.
cretion
distame, neither,but let your own
suit the action to the word, the word
specialobservance,that you o'erstep not the modesty of nature ; for anythingso overdone is
from the purpose of playing,
whose
end, both at the firstand
to
now,
to
and
was,
show
virtue
the very
age
this
is,to hold,as 'twere,the mirror
her
and
own
body
Now, this overdone,
unskillful
censure
whole
laugh,can
of which
or
not
feature,scorn
of
Oh, there
own
the time his form
come
but
must,
theatre of others.
one
her
up to nature ;
image, and
end
pressure.
it make
the
tardy off,though
make
the judicious
grieve; the
in your allowance,o'erweigh a
be
playersthat I have seen
play and heard
others praise,and that highly not
to speak it profanely,
that,neither having the accent
of Christians,
the gait of
nor
Christian,
Pagan, nor Turk, have so strutted and bellowed,
"
"
that I have
thoughtsome
of Nature^s
journeymenhad
made
HOW
60
and
men,
them
made
not
AMATEUR
MANAGE
TO
THEATRICALa
well, they imitated
hmnanity
so
ahominahly.
Fir%t
with
hope
have
we
Oh, reform
For
it
speak no
clowns
play your
that
indifferently
quantity of barren
some
the
then to
meantime,
be
ADVICE
OF
some
considered
ambition
pitiful
THE
altogether. And
order
to
:
laugh,to set on
spectators to laugh too ; though,
question of the play be
necessary
POET
required. Even
A
full and
WHEN
MANAGER
most
OF
THE
THEATRE.
in
mannerisms
observed
even
to
a
tinctness-s
speech rigiddisdegree of severity
exaggeration is advisable
of results ; the excess
of the accustomed
a
it.
uses
GOETHE,
overcome
shows
that's villainous,
and
in the fool that
be
that
for them.
than is set down
more
WEIMAR
In
let those
that will themselves
there be of them
not
reformed
ns.
Hamlet,
in
I
Flayer,
will become
fear
without
equalizedby
the
rence
recur-
habits.
groundwork of all
higher efforts. Pronunciation is complete when not a letter
When
of a word is lost,and each is given its true value.
the word
is correctly
is so uttered its sense
and trulyunderstood.
Perfect enunciation
should be the firstobjectof
actor's care.
To acquirethis the beginnershould speak
an
the
slowly,pronouncing each syllableand especially
very
end syllable
livery
firmlyand with decision,so that in rapid deIt
rendered.
no
part of a word shall be indistinctly
is also advisable to speak in as deep a tone as possible,
and
then to graduallyascend the scale ; for,by this means
the
voice acquires great scope, and is rendered
capable of all
manner
An
of
clear enunciation
modulation, which
is
is the
so
necessary
to
an
actor.
improper style is often caused by not memorizing
is to be
that which
correctly.Before trustingto memory
and
learned, the language should be carefully
slowly read ;
time abstaining
from all sympathy, expression
at the same
62
HOW
TO
MANAGE
AMATEUR
THEATBIGALS.
it shourd
to the audience, and if necessary
very rarelytamed
be done with grace.
It should
be observed
not
especially
to
into the theatre but
speak
divide his attention
must
Before
movement.
move
a
to
the audience.
between
his situation
and
actor
the
dience.
au-
turningthe
indicate the
It is proper
little backward
and
speaking to
forward.
head the eyes should
for the arCtor who
is
The
the
who
one
is addressed
a
little
wiselyobserved a fine effect is thus produced.
When
two
are
speaking to each other the one on
persons
the left should
not
approach too closely. The respected
elders and supeperson usuallystands to the right; women,
riors.
The
at
A respectful
distance is to be observed.
one
the right should
the centre and not
generallystand nearer
allow
If
himself
The
to be
Hands
doubled
into
should
be
driven
Arms.
akd
a
fist,
nor
"
wings.
should
hand
^The
flat at the
rest
partiallybent,
the
near
not
the
side,but
partiallystraightand
be
fingers
not
held
stiffly.
The
together; the
fingersshould remain
bent.
thumb, fore,and littlefingerslightly
poiseand adaptableto all gestures.
middle
two
The
upper
moved
in
half of the
limits than
narrower
be allowed
the greatest freedom.
the
entirelyuplifted.
is
arm
The
hands
should
not
be
should
arm
resume
the
held
This
the
at
is the natural
sides,and
should
forearm, which
The
greater effects when
their natural
after
position,
completinga gesture, until the whole passage has been
and
then
only graduallywith the ending of
speech.
In movements
First liftthe
The
of the
hand, then
should
arm
the
a
young
his elbows
at
control
In
actor
the action
elbow,
and
as
closelyas
divided.
be
thus the whole
so
the
arm.
doing,or
holding
to acquirecomplete
possible,
it is well to accustom
his sides
should
wholly lifted without
stiff and ungraceful.
be
never
the gesture will appear
For
arm
dered,
ren-
himself in
of them.
the arms
movements,
walking or other accustomed
fibould bang loosely,
but in
tb^ fingers
not pressedtogether,
HOW
motioD.
the
MANAGE
TO
Descriptivegestures
gesture refers
one's
to
pointingof
part. The
one's
AMATEUR
self,should
THEATRICALS.
should
body, do
own
the hand
to
only when
occur
seldom
the
the
63
be made.
point
not
If
the
to
breast, to designate
sense
strictly
requires
it.
In
to
not
the hands
moving
the face
cover
every
or
be
must
to
the
at the
same
The
and
the
body, it
posture.
positionis
is better
to
Care
answer.
If the
such that it must
recede
a
littleand
should
be
righthand
be given
extend
it
time, stillfacingthe audience.
should
actor
make
left will
any awkward
make
used, and
across
be taken
hide
expresslyrequired,the
not
should
any part of the body.
the rightis not
to ofier the hand, and
If it is necessary
taken
possiblecare
his
observe
on
which
gestures in keeping.
side of the stage he is
On
the right side use
the left hand, and
arms
end
left
shall be covthat the bosom
so
ered
reversely,
Even
little as possibleby the arm.
when
both
as
used these pointsare
To this
to be observed.
are
the right to advance
also it is well for the one
his
on
foot, and reverselybetter to have the body to the
audience.
Gesticulation.
only think the words
in the speech,but
well
as
Rules.
"
"
Stand
before
a
mirror,
and
; thus the faculties will not be absorbed
be detected,as
every false gesture can
the beautiful and
correct
ones
chosen,and
the whole
of the words.
analogy to the sense
and the
It is presupposed that the character is understood
conceptionformed ; without this the actingis impossible.
before
It is well to perform one's part in pantomime
the most
is then obliged to use
another person, for one
propriate
apaction
will show
an
gestures.
gracefulmovements,
of the feet.
be taken as to the coveringeven
should
care
or
by
especially
something similar,should be worn
Slippers,
those who are
to represent youthfulparts. The
sults
good reRehearsals.
will
During
soon
"
acquire
easy,
be obvious.
nothing should
play.
rehearsal
with the
^To
be done
that is not
sistent
con-
64
An
TO
actor
should
A
free.
arms
cloak
should
actor
rehearse
not
only hinders
only make
Regrettingthe
cloak, but
a
motions
be
may
the
the
voice in the
STUDY
OF
ELOCUTION.
elocution
remarked
the value
that
and
pression,
of
a
try
they copy
;
imitate
to
of
capacityfor
a
"
elevation
the hum
from
And
sledge-hammer.
sound, from the sombre
the scarlet
that
be
can
produced by
of
of Ceo
Flat
B. First
of
of
of
the
; L. D.
Stage
; C. D.
F. Left
Door
Entrance
First,Second
or
R.
Third
reader
is
F. Door
F. Centre
in
E. Second
; 2
R.
The
D.
Centre.
this,
well
as
all the
of the bassoon
every
to
varietyof
tint
DIRECTIONS.
Stage, facing the Andience
; L. C. Left
I re
the back
the
Right
means
bee
a
the violin."
STAGE
R.
de^
or
than all
more
notes
of the trumpet, with
tone
his
has, in a certain sense,
roundness
soilness,
or
sharpness,
they forget that words are vehicles for tones as
thoughts,and are capableof exhibitingin utterance
colors
of
movement
word
a
all the forces of sound
blow
the
or
contraction
or
young
it were, without
understandingor appreciatin
of individual words.
In fact,it never
appears to strike them
the qualityof hardness
extension
by
:
actor, and
favorite
lump, as
to
to be avoided.
are
little study given to
some
leads
repeated.
unconsciously
at
of
hands
his
gestures appropriateto his
great performer once
They look
have
but
actingas a mechanical matter
facial expression,
attitude of the body, and
"
to
in
THE
ON
BOOTH
JUNIUS
actors, this
not
habits of gesture
part. All bad
LUCIUS
THEATRICALS.
false gestures which
assumptionof
The
AMATEUR
MANAGE
HOW
the
Door
Flat
Entrance
the
in the
; R.
;
; L.
in
Left
; 0. Centre
Flat,or
Scene
Flat ; R. D. F.
D.
; R. C.
Right
running across
in
Right Door
Right Door ; L. D.
U. E. Upper Entrance
Left
;
1, 2
Door
or
; 1
8
Groove.
C.
supposed
C.
to
l"e upon
L. C.
the
Stage, facing the Andience.
L.
G.
TEACHING
"
MATOITG
THE
UP"
FAOE
THE
FOE
EQUALLT
The
instructions
aim
for
here
Grease
decidedly
are
list
upon
application
It
of
all
is well
character
and
witho^it
the
hands
unnatural
light
thrown
and
so
lily and
the
By
One
fails
injure
tender
tints
of
to
and
the
spoil
other
the
Paints
the
are
those
best
blendings,
of
their
artificial
effect.
of
For,
the
on
in
stage
ap-
artificial
an
the
intensify
coarse
appear
though
a
of
blending
cadaverous.
sinks
natural
so
the
carefully,
into
closest
ficial,
arti-
the
do
harmoniously
the
combine.
nature
results
a
countenance,
natural.
seen,
and
and
personate
and
thus
almost
the
had
be
to
him
upon
complexion,
where
complete
may
appear
shadows
judiciously
from
to
the
person
features,
appear
discover
cannot
so
will
rose,
Grease
using
scrutiny
paint
the
line
to
looking
and
book.
and
a
of
use
free
A
latter.
intending
seem,
the
; while
this
order
may
beautiful
most
exaggerated
and
in
deepen
to
as
of
color
spectator
a
the
the
while
colors,
referred
person
must
it
of
use
every
arms,
as
dry
it is the
colors,
for
to
professionals,
by
use
hereinafter
stage
to
The
the
publisher
that
it, strange
liiJ^Kts.
the
known
pean*
than
dry
directions
in
most
now
articles
to
with
face
devoted
mainly
being
form,
convenient
the
upon
th"^
convenient
attending
price
book
the
up
PROFESSIONALS.
AND
this
"
are
more
objections
many
in
which
Paints,
of
making
give,
to
AMATEUBS
FOB
portion
"
OP
USE
THE
BY
PAINTS."
ADAFTED
foregoing
STAGE
THE
"GREASE
OF
METHOD
PROPER
Grease
Heat
colorings
Paints
or
; but
intense
these
is that
action
remain
perspiration
will
often
impervious
68
HOW
to
wet, and
after which
If any
the
toning
"
scumbling
The
flesh
juveniUty
look
given by
much
the
real
more
in
that
skin
the
ance
appear-
harsh, chalky
line where
acute
together
come
color,but
the
The
strong, garish light of the
to be more
particular about
it necessary
more
way
assumes
colors;
dry
the
still
same
kinds
and
will
painting.
softened, and
of
be
can
soft napkin,
a
Paint, by
of that
wig
The
concealed.
with
being entirely devoid
many
the
liningof
;
it
remains,
finishing powder
Grease
looks
only
becomes
countenance
of
oil
an
not
the
flesh,in
the
improves
painted
whole
and
paint
the
effect of
the
actually improve
dampness
with
two
or
Grease
roll off,leaving the
paint intact, by sopping
touch
a
THEATRICALS.
will
sweat
leaving the
removed,
the
of
drops
entirely uninjured.
Paint
"
AMATEUR
MANAGE
TO
be
can
modern
entirely
stage
ders
ren-
this matter
than
formerly.
The
Grease
beneficial
actually
croVs
"
up
is
fact
skin
to
child.
atmosphere
the
Indeed,
the
applied
coloring matter
HOW
the
to
to be
such
paint may
will
employed
If
not
worn,
hair
elastics
a
few
and
ground
in
making
FOR
THE
give
sudden
work
up
allows
the
of
changes
the
a
of
unctuous
is first delicately
for
for
an
feeling.
epidermis
against by
the
parts
place,to put
as
be blurred
by
the
other
nearly every
of
must
be
extended
the
front
the
and
shoulders,
accidental
an
to be
costume
touch.
If
touching-up
conceal
the
joiningpoint.
THE
ON
that
up
to the
the
locks of the
head
hair
used,
that
so
the
brushed
so
MAKE-UP.
that
put it in place, so
it,and
on
neck
cover
PUTTING
the
the
butter, which
cocoa
as
Paints
mask-like
a
"like
ungrateful
face
first
properly match
The
Grease
slight oily effect
thither
PREPARE
TO
It is best, in the
to be
the
:
the
ing
fill-
by
character.
conceivable
excepting
that
completely guarded
of
instead
are
appearance
countenance"
reverse
tendencies
mellowing
the
to
and
are
skin, but
wrinkles.
other
hither
**
move
healthy
and
imagined wrongly
just
to the
giving it a soft,smooth
"
sensation
unpleasant
hurtful
not
are
;
feet
have
Some
The
Paints
of
a
the
wig
the
is
face
WIG.
middle
can
of the
be
head,
neatly put
protrude,
so
much
and
in it.
the
HOW
better
hue
;
only
the
as
Cover
TO
that
they
shoulders
and
see
barbers
use,
being
touched
by
unless
proceed
to
follow
the
or
character
Ught
Too
portrayed.
the
much
the
heavier
vaseline,and
rub
and
a
will
grace
the
wig
should
hair.
a
to the
most
with
correspond
of
A
make-up.
skillful
a
the
of
No.
the
on
too
colors
the
2 ; if
a
Of
would
the
edge
inner
where
wig
it may
thick, wipe
suited
oflf
acter
char-
to the
profession,etc.
slightlyruddy youth;
age,
course
the
be the
natural
dark
are
or
hands,
to
the
on
mind
4,
what
and
none
If put
both
face, up
backs,
Rub
butter
cocoa
Warm
the face.
the
countries
hot
shadows.
the
bit of
a
clothes.
youth,
the
beautiful
warm
covered.
the
duller
FACE.
thinly over
be
for
strong,
a
the
face, while
finest
acter
char-
given
in
lines and
upon
of
materials,
hereafter
that
as
growth
proper
; while
the
the
ears, except
dark-hued
People
the
dense
mar
to use
si:perfluity.Proceed
to play, bearing in
you are
Extremely pale, No. 1 ; pale. No.
3 ; if
for the
is
directions
the
No.
required
YOUTHFUL
it
with
in contact
come
face
bestowed
cool, first
nostrils,must
of the
all
part of the skin
every
Even
hair.
or
is
spread
over
Remove
appear
be
make-up
place
paint.
less
seem
A
I. If
or
desired, remembering
cannot
care
will add
make-up
same
clothes
the
neck, to prevent
to your
carefully the
and
careless
poor,
the
of
large cloth such
a
Having procured
shadows
coarser
clothes with
unshaven
an
be
lightthe
67
properly colored
are
butter
cocoa
to
vivid
close
wrapped
if any,
age
THEATRICALS.
wig.
your
beard,
AMATEUR
MANAGE
; of
color
of the
color
of
cold, light,as
a
general thing.
II.
Having
ideal
effect your
touch
cheeks,
thoroughly
for
A
up
touch
should
outer
and
evenly
This
the
rouge
all
with
the
over
being done,
slightlyas
the
gently rubbed
edges combine with
be
chin
size
down
the
of Grease
number
proper
and
forehead
the cheeks
of
the
a
and
Paint
of the
little dabs
; then
face, as
already
with
Grenadine
indicated
of
end
the
object,slightlywarm
butter.
cocoa
touch
selected
the
in Plate
half-dime
spread
groundwork
rub
and
them
described
Rouge
1 of this book.
both
on
so
stick
to
as
color
cheeks,
to have
of
the
its
face.
HOW
68
Full-faced
front
stick
a
the
color,so
of brown
wig
be worn,
to
lines under
faint
Plate
1.
black, as
or
The
the
or
the
and
eyes
curved
the
is
and
destroyed,
Put
it
little color
a
This
much
both
on
improved
the
off with
Eub
have
got
with
the
the
the
the
on
Touch
in tint than
neck
The
of
to the
with
paint
arms
characters
"
powdering
hands
should
Careful
the
most
While
they
are
from
its outline
ble.
desiraeyes
a
as
a
are
the
attention
portions
it. If the
to the
or
not
are
look.
In
day,
fashionable,it
be whitened
to
or
higher
the
paint, so
face.
the
of the
This
treated
skin
and
is desirable
than
such
of the
that
it
to
may
tions
por-
above, they
as
plays presenting
in those
is
is not
clothing as
hands
as
skin, and
delicate
from
sired.
de-
nostrils.
of these
use
as
shade
of
the
a
up
be
may
grease
the
them
exposed
a
edge
with
; but
remove
of the present
was
color
them
eyelashes,
rouge,
with
may
so
hair, as
inner
injurious
red, coarse
"
the
be treated
with
the
to
which
touch
stump
eral
gen-
appearance.
paint
grease
the
the
soften
lifelike
natural
or
such
in contact
to have
apt
down
heavy eyebrows.
and
a
given
liquid colors
difficult to
are
wig
should
is much
of the
been
; also touch
as
possibly come
any
with
corresponding
a
grease
tension
ex-
rub
finishingtouches
Perle)with a puff,very
give
lips slightlywith
recommended,
remove
and
and
has
as
hands
more
this
the
down
tone
towel
a
eyebrows,
done
sometimes
to
(Blanc de
make-up,"
natural
and
tended
ex-
eyelashes,if
have
given the
where
point
face,to
comer
the
them
give
**
in color
to conform
found
Powder
color
same
the
and
ears
effect of
of
in
be
under
and
be
inch, but
rigidnessof
appearance
with
appearance.
reached
now
lightly,to
the stump
the
on
at, draw
may
; then
upper
will
in, apply Pearl
come
the
gives
eye
an
imtil
eye
it
is indicated
of the
with
daubed
a
in color
quarter of
delicate
the
treatment
Having
to
quite
line under
a
and
matter
aimed
chin, as
corner
ears
rubbing
harmonize
the
on
outer
straight for,perhaps,
be
best
may
and
stump,"
ears.
of the
face shall present
"
the
to
the
the
general complexion
line at the
should
overdo
not
leather
a
toward
in front
of rouge
Do
well
rouge
side and
that the
as
take
Next,
appearance.
slighteffect
a
of
spot
the
to
is desirable.
chin
THEATRICALS.
put the
more
case
much
too
on
ones
every
the
AMATEUR
should
; thin-faced
on
get
MANAGE
persons
In almost
and
TO
the
the genteel
time
when
and
arms
tinted.
foregoing
details
will be
sure
to
give
satisfactoryresults.
the
preceding directions
apply speciallyto youthful
HOW
70
of the
comers
a
TO
in
eyes
brooding,
sorrowful
The
and
age
be
must
so
of
life of
of
the
demanded
the
in
charater
making
of
appearance
produce
to
Powder"
delineated
lines and
shades,
great age, unless
Finish
of the
to be
the
too
tlie character.
by
Multiform
"
in order
expression.
mode
to ^ve
THEATRICALS.
opposite direction
an
carefully considered
not
as
AMATEUR
MANAGE
tint
off with
cially
spe-
tion
applica-
an
the
suggested by
acter
char-
assumed.
CHARACTEES
OF
Noting carefully the
general
book, proceed
for
with
the
by
For
sallow
a
the
character
weather-beaten
look,
Plate
3, Figures 1, 2 and
color
suggested, either
line and
shade
the
face
on
of the
colors
applied
lower
ground
color
put
It is
make-up
No.
7, S
on
of the
3, and
No.
No.
use
No.
use
12,
with
22, 24
and
the
or
cheek
10
for
to
characters, unless
4, Figures
and
of two
the
of the
should
not
demanded
be
by
page
the
from
old person
have
led
the
make-up
is
lives of
number
after which
as
with
the
the
be
"
make-up
quite
the
fully
care-
tint.
proper
"
be
for
strong
personification.
so
they
CHARACTERS.
carefullythe directions on
face with cocoa
butter,decide
the
be
carefullystudied, as
Consult
what
deepening
characters.
quite widely differing
AGED
taken
acters,
char-
should
finish should
that
suggest
2, should
rough
a
youthful
more
nicely blended
Powder
elderly ladies
present examples
Use
11 ; for
or
done, study closely
the stump and
the lining
25, as may
be, proceed to
which
Multiform
1 and
be
may
This
is described
as
face,after
the
directed
as
9, as
or
this
of
assumed.
scarcely necessary
for male
Plate
down
with
on
middle-aged
an
37
page
only intensifyingthe lines and wrinkles, and
The
shading, according to age desired.
rouge
the
as
portion
sicklymake-up
or
AGE.
directions
youthful characters, using
indicated
or
first
MATUEE
demands.
delicate
exposure,
of grease
proceed
In
in color
as
it would
paint
which
to line and
41, and after
the
some
a
character
cases
the
ing
cover-
to be
skin
of
child's ; in others,who
be very
the
shade
rough
character
the
face
and
dark.
may
with
gest,
sugthe
lining colors (No. 22,24, 25 or 26),as laid down in Plate 5,Figs.
1 and 2. Rouge carefullywith No. 29 (Old Man's Rouge) quite
HOW
low down
cheeks
of the
The
in the
same
which
are
up
the
a
of
comer
them
the
the
the
with
of the
veins
No.
the
other
each
of
dark
shading,
and
lines in the
so
give
to
as
make-up
of
lower
old age
24
other.
and
hands,
should
desirable
be
to
lines from
give
each
each
the
beyond
thus
formed
with
eyelids a drooping
lids.
the upper
slightlyrouge
"
the
No.
lids,gradually dropping
point of junction under
to a
slightlyextending the end of
junction. Fill the pointed space
point
lows
hol-
be treated
people,
eye, then
the
appear
the
should
dark
fused
dif-
in the
over
forehead
the
lower
and
one
(blue). If
26
to
blending of
old
in
is well
not
as
eyes
a
the
on
71
rouge
throat
look, draw
along
they approach
as
the
bone, so
conspicuous
sodden
eyes
done
and
delicatelywith
heavy,
that
see
(blue); putting
temples
often
quite
be
26
; and
way
touched
eyes
No.
of the
hollows
THEATRICALS.
around
shading
should
and
(lightbrown)
and
bone,
The
patch.
AMATEUR
part of the cheek
the lower
red
a
MANAGE
the cheek
on
over
like
TO
"
The
dark-colored
be intensified
can
pression,
ex-
by shading
(white). Eyelashes and eyebrows should be colored
with Aqua
Tint, No. 1 or 2 (white or gray),as may be desired.
be made
heavy or bushy by the use of crepe
Eyebrows
may
and
hair" of the proper
color,attaching it with Spirit Gmn
No. 23
with
"
Much
scissors
with
trimming
and
care
in imitation
time
skill
to the
and
of old age,
and
required
are
patience
the
and
person,
shading
veins, and
and
in
the
and
size.
make-up
must
endeavor,
this,as
a
be
youthful face
prepared
and
should
in other
result.
to
not
pend
ex-
be
things,do not
face of an aged
Study the
peculiarityof the wrinkles, the
carefully the
note
to
novice
in the
discouraged if first attempts
always produce the desired
shape
proper
general
tone
of
complexion.
Plate
5, Fig. 3, gives an excellent idea of the proper
make-up for a
face made
prematurely old by dissipation. The same
general
rules apply for the make-up, and a study of the plate will indicate
the proper
places to apply No. 27 (Old Man's Eouge), care
taken
being
work
by
an
not
to overdo
applicationof
the
**
In all
matter.
Multiform
finish
cases
Powder"
of
the
the proper
tint.
A
In any
use
of
SALLOW,
white
where
dark
colors
10
or
No.
11
paleness is
as
APPEAEANCE
(see Plate
character
No.
DEATHLIKE
may
6, Figures 1 and 2),requires the
(sallow and deep sallow),shading with
indicated,and liningand shading with
be indicated
by
the
age
of the
character
to
HOW
72
be
TO
Do
delineated.
the
give
lips
of
coloring
drawn
and
THEATRICALS.
the
rouge
thin
a
be
Ups
AMATEUR
not
lips
should
mouth
MANAGE
so
to
as
blue.
ears
The
present
if
lines
with
sary
neces-
the
about
pinched
weaiy,
a
Finish
colorless.
and
cheeks,
or
No.
27,
pression,
ex-
form
Multi-
"
Powder."
colors
Special
Italian, Chinese
in
the
directions
and
Indian
making
of
Chinese
and
careful
broad
white
of
in
given
too
in
not
lines
4,
of
of
the
overdo
rouging
the
they
ance
appear-
and
by
the
by
places
up
the
the
require
brows
eyeany
described
grease
scribed.
de-
there
colors
make
and
a
wrinkles
painting
and
a
ment
treat-
using
matter
cheeks
lips,
making
to
dry
of
as
make-up
the
at, by
the
of
not
accomplished
place
to
of
management
4.7,as
page
aimed
character
or
the
on
in various
4, Figure
special
easily
cases
deep,
and
the
burlesqued
style
a
East
of
natural
marks
natural
on
The
tints
all
the
of
and
face
the
and
in
some
characters,
the
The
Gipsy,
on
faces
and
Plate
in
the
for
except
however,
spots
The
all
proper
the
Malay
or
cases,
depicted
are
from
is transformed
here.
the
caricature
unnecessary,
use
some
and
is well
44-54
of
its
forehead.
comment
paints
color
seen
apply
only sparingly
ruddy
be
to.
will
only
ish,
Moor-
will
as
characters
and
Gipsy,
referred
is indicated
Japanese,
thoroughly
so
pages
Be
red
markings
is
on
of
characters,
other
characters,
In
of
make-up
hereinbefore
rouge
characters
face
of
but
of
appear.
face
further
of
Chinese,
these
the
make-up
renders
up
introduction
on
East
Paints
absence
nations
naturally
Indian
Italian
The
these.
and
these,
to
way
Moorish
in
the
for
general
for
Grease
of
catalogue
the
prepared
are
lips
in
too
an
travagant
ex-
manner.
Some
the
allowance
audience
which
large
would
be
the
where
room
theatre,
performance.
must
seem
would
made
the
performer
perfectly
seem
for
natural
exaggerated
size
is to
on
in
of
the
appear.
the
a
stage
and
A
up
make-
boards
of
drawing-room
a
PREPARATIONS.
FACE
THEATRICAL
ARTICLES, Etc.,
MAKE-UP
Amateurs
for Dramatic Representations
by
Requisite
tore, and
address,
introduction
The
has
to be
believed
are
paid, to any
best
the
receiptof
of
these
to
impervious
complexion.
They
No.
Juvenile.
1. Palest
'*
8. Bobust
"
of
stage make-up;
they
perspiration,are
easily removed,
and
art
Juvenile,
11.
..
..
Light Italian,
Sallow,
Sailor, deep sunburnt,
19.
Moor,
Indian,
.
21. North
American
..
for
Ulninir,
Etc.
BUulk,
27.
Light Gray.
28.
White.
28.
Dark
24.
Light Brown,
29. Old
26.
Dark
80. Juvenile
26.
Blue,
Box
No.
""
Paints,containing nine
containing nine
2-inch
In small
4.
6.
Oi
7.
I No.
porcelain pots" price
60 cents
Whit^
9. Deep
4-inch
f"
No.
.
Pink,
"
Brunette,
Bright Fleib.
2. Pink.
.
.
8.
Sunburnt,
0. Italian
12.
each
;
fer pound
$1.
AaMrleea
OtiMllo,
18. Blonle.
deeper,
(olive),
10. Chinese.
11. North
Sallows.
tn Ifoxtft" id eente
colors, 76 cts.
each.
Pink,
"
sticks of assorted
sticks, assorted
No. 1. White,
2. Pale
Bonga.
the Ck)mplexion.
beautifying
For
t^o. 1.
""
Man's
stick 26 cents*
per
of Grease
Same,
Indiaa,
31. Yellow.
stick 40 cents.
per
Price
batten.
Italian,
13.
22.
..
.
Chinese,
16.
20. East
Oolorfli
.
16.
..
Deep
Price
foUowing.varieties:
Sailor, siigbtiy weather
..
.
injurious to the
the
Buddy,
.
"
Sallow,
10.
long, in
are
easily applied,
not
12.
..
.
Light Tanned,
by mail, ])os(
liningthe face,eto."
are
17. Sunburnt
Heavy
ipanufiMS*
are
..
8.
sent
14. Gypsy,
..
*"
9.
approved
be
13.
No.
"
Heavy
7.
kind.
..
Medium
6.
They
will
points for coloring, tinting and
Light character,
6.
most
price.
..
4. Eztrfr Bobust
No.
of their
the
the
of
are
put up in sticks eight inches
are
2. Pale
following list
on
simplified the
much
very
almost
the
in
embraced
articles
The
Professionals*
or
colon, $1,00^
XDTy
Ory Whiting,
for
,
Prepared
advanced
Barth,
Price
age.
Price
Beceemry
for
Ruddy
Rouge,
Price
40 otik
nuklBg
obaMettM
up
or
box.
per
30 cte.
tinting the cheeks
ruddy
for
Price
face.
box
per
80 cts.
80 eta.
and
sunburnt
characters.
30 cUk
,
for
Rouge,
Price
of mature
box
per
Orenadine
for
FMses, etc.;
box
per
iu
for finishingup the
(Blanc de Perle),
adding color to the face. Price per box
Rbuge,
foondi^
Siotik
Powder
Pearl
the
fiust,
COowu
Ststiinry,
Tableaoz, PMitomimes,
by perspiration.
Fuller's
in
mftke-up;
Prioeperbox
tliiutfueeded.
Whitinf
affected
not
of the
iudispeiiMble put
ad
tiou, uxdilrvt
Prepared
Oolprs.
the
lips and
cheeks.
In
sticka and
porcelain pota.
each
Carmine,
burnt
...40cta.
for
giving the cheeks
cork
Powdered
Negro characters.
iu
Blue,
Mongolian,
brilliant
a
for
tint and
Price
in
necessaiy
making
80 eta.
fiaoes.
Indian
up
box
per
representing unshaven
heightening the effect of
per box.
Price
and
Mulatto
26 eta.
characters.
Price
box
per
Dutch
30eli.
for
Pink,
repreeentiug
pale, sallow, sickly oomplexiona.
Price
per
box
26qt8.
,
Chrome
(Lemon
Orange), Ibr mi^e-up
or
lightening the beard
Powdered
eyebrowa,
or
Antinaeny,
for
for
eomplexiooa,
sallow
shading
hollows
.26.Qt4.
of the
for
Negro
containing enough
"Aaractera;
for
Price
pound
Price
per
eyebrowa,
eyelaahea and
veins
the
delineating
Indien, for the eyebrowa and
Pard
for
"10 eta.
cake
~.
.
black
either
brown.
or
be
can
; No.
Blonde
on
ey elaahea
Price each
hands.
or
efltetive.
; very
waahed
4, Bed
out
with
No.
water.
; No"
6, Auburn
; No.
1, White;
whiskera
No.
; No.
6^Brown
for
Price
black.
Powder.
% Gray; No.
7. Black.
Nose
per
dust
Gold, Silver,or Diamond
and
Price
tlie mustache
conceiving
Pufty,
for
fO cts.
per parage.
when
16 eta.
;
enlarging "nd
the
altering
of
ahape
the
noae.
Prieetech
Powder,
noticed.
Noir,
36 eta.
package
36 ota.
miOtfng
for
Nose
Putty.
fhmta^f
Joining'Vaste,Ibr Jel^olng
is not
or
26 ota.
Price
luballa.
Email
8,
I^ice
25cts.
white, pink, brown
etc.; ei^er
muatadie,
Mask^, for covering
each..*
Mustache
Paate
browa;
eye-
8ti"A
either
deairable.
Prepared
the
wasteg
per
Price
Powder,
Skin
7i6eta.
or
T
Cosmetique,
Hair
.80 dta.
.,
Price.
each
Violet
"}0 eta.
Price
35cta"
face,neck
(Aqua Tint),for coloring mustachea,
Coametlque
WMer
$1,00
'
each,
Pencila,
ponad
cake
eko.
Ink, for delineating veins, linefe,
e^n^g
half
$1,75;
per
for
boxep
40cta.
Price
Pendla,
la
removed.
each
imitating wrinklea, etc.
Umber,
India
.80 ots.
"Msily applied and
Per
Bumt
and
box
per
for as ^plieati^one.
temi^lae
eyes,
.
Cork,
for
Price per box
the
throat, to repreaent death, et". ^Ice
Burnt
and
for
In
etl^
four
Inchea
blackenteg ^e Wth,
isg; la eaaily applied,and
femovedtrithabitof
In neat
box.
bald-wig with
will not
so
long.
aa
cope
Price
to make
off
on
.80 dti.
Price
forehead
so
that Che
each......
th"m
the
rdUglitofWeUBg.tnbotAea.
joint
:..3S'dti.
uppetae to be mia"-'
lips,etc.. bmt^a eMlT-
H^eachf.
40cli.
for
Spirit Qum,
In bottles.
Cocoa
Powder
Harea*
Camera
"
**
(Aqna Tint). Price
each,
Burnt
PuiE,Spirit Gum,
little case,
Qreuadine,
Powder,
shades
two
for
of
Powdered
Buddy
for
up
India
Brushy
and
two
Ink,
shades
Noir, Scissors, Crape Hair
4,00; by maU,
Powdf^r^c* Blue, Chrome,
Antimony,
Bouge,
Whiting, Violei
Dry
Saucer,
Powder,
Ink, Vyabtow
containing Bouge
MirrtM*.
Scissors,and
/
Theatre, Blanc
de
Box
PeuciI,Hare'a
4,64
Foot. Joining Paste, Eyebrow
Price,by maU,
tfotn.
making
in
SpiritQum,
A"iua Tint
Email
mustache,
Hair Brushes, Crape Hair, Paint
Ink, Hare's
10 eta.
necessary
Butter, Joining Paste, India
Cocoa
cCs.
6
$5,00; by mail, $5,75.
Mongolian,
Price, by express,
neat
Price each
Puff, Ck"coa Butter, Camel's
(9 colors),Powder
Paste
Oosmetique
Cork,
Foot, Camel's
colors
...".
pasteboard box, containing
A neat
Carmiue,
ISeta.
25 ota.
50cta.
Paints
Price, by express,
Wool.
fitce.
Foot, Artistes Stumps,
Powder,
of Mnltifurm
to the
de Theatre,
Bonge
Mirror, Hare's
...
Price, plain, eacli
face.
containing all the nateriala
tlie stage, viz. :-^^Setof Otwauo
Brushes,
.50 ote.
..;
Priceeach
tin we,
A handsome
IS eta.
....
50 eta.
applying
Oosmetiqne
SpiritChmi.
for
to the
.25 ota.
...
Perdoz.
"
for Weii^
Brushea,
for
Brushea,
Haic
"
A
ei^e
per
aize do..
size do. 25 cts.; miniature
applyiug coloring
iTory handled
Pe*t,
India
Priee
Painta."
Oreaae
for
"*
and
Om".
86 eta.
*'
removing
Medium
"'
*"
or
and
head
Stumpa, fbr delineatingwrinklea on the liMe, etc. Price ea^."
Large size, eadte.
Pulb, for applying powder, etc.,to the fMse.
Artiat'a
Hair
to the
mnttMliM
and
each
Price
for
Butter,
btards
seouring wi^
de
Pencil, and
Perle, Chamois
Hair
Camera
t-^^thtir,
Bmahea.
$1,50.
Theatricaland
FancyCostume Wigs.
I^OtlOO-
In
The
the
head
a
.
the
a
gentleman
wig; but
as
be
if
a
follows
particular to mention
will
usually
exact
more
or
ear,
thence
nice
the
with
color
desired
ness
sufficient exact-
fit is desired,
the
measure
:-^
head; beginning at edge of hair
right
indicate
arojond b^nraof
in middle
of
forehead, thence
skull,touching top
of base
of
to
left
point of beginning.
2. From
aape
by
worn
sized
base of
ear, to
Beards, etc.,
tape-measure,
1. Around
top
hat
proper
with
of
Wigs,
ordering
sice of the
of the
same
point of starting,measure
oyer
the top of
the
baad
neck.
$. Across,
ovar
5. Around
back
top of h"ad, Irom
of
hecd, from
ear
tao^^
to ear.
to
tampla (adfa o# hair).
to middle
a|
0(NirtWifi.wliltt,lMgortie.v...$i 60
ftlleolon
Flowing,
Bald, ftuy color
kind
of
Biuglet, ftuy oolof.
Crop,
""
""
With
Vr%M,
partingf'ordinarycolors
""
"*
*'
without
""
grmyorwbite....
particg
light,with puking
*"
Iron
Qrty. tlightlycurly
Jew, black
""
Bruwu
Oeorge
ClUMiM
Second
"
(Ooorg" ni.)
(Gftvalw/)
Bongti Irbh,
red
Oentleuuuily Irish, with
5 so
Old
4 60
Physician
6 00
Country Boy,
Lidy Washington,
Grand
Duchess,
or
Pompadour.
white
.
4 50
Yankee"
Brother
American
Indian
4 60
Chinaman,
4 60
Clown,
6 60
Monk
white
4 60
Box
4 60
Punch
6 76
Santa
6 00
Bip Van
4 60
Quaker
and
Cox
and
with
Woman*s,
Maid's
7 00
with
long
braids
7 00
6 60
white
6 60
gray,
browsto
These
being
tion
or
....
whiskers
and
Wigs
made
best.
the
ftimish
Stiunp Speech,
Can
any
wire
desired
6 00
making
stand
hair
mounted
and
color.
contrivance
mechanical
Fright, with
for
2 60
comic
stylish
Wench's,
on
6 09
color
1 60
8
viz., mounted
kinds,
8 60
style of
Man's
2 60
of two
are
9 00
present
in
up
Eud
60
up
ladies
for old
126
1 60
in
style.
dressing the hair, any
eye-
match
much
color
Piece"
6 00
be done
can
desired
Front
6 00
with
*'
6 60
Girl
Serrant
any
6 00
Man's,
"t
00
6 00
4 00
Old
curls
bald
beard
Winkle
$6 60
long
white
8
"Wigs.
Blonde, with
Old
8 60
(3 wigs), each
Judy
Clans,
Plain, long hair"
Dress
460
(2 wigs), each
6 60
Wig, good quality
6 00.
4 60
Marie
Plain
6 00
colors
or
Irish
Curly
6 60
6 00
Old
Binglet
6 00
6 00
pigtail
7 00
Short
white
Jonathan
with
6 60
**
.
flaxen
LadyTeazle
Antoinette
.
6 00
Lawyer,
or
6 00
Xjau:a.le@'
parting..
Man's, white
Be
on
in
sure
on
6 00
end.
gauze,
ordering
.
.
latter
the
to
men.
desired.
Price.
Gauze.
Pull
Beard
"*
Chin
2 60
..
withMustache
""
2
Beard
"
WithMustache
"
2 26
Side Whiskers
'*
1 60
with
*"
Throat
75
2 00
Mustaches
2 00
..."
Whiskers
1 26
Mustaches
40
Imperials
26
Side
1 00
Sluggers
Mutton
Whiskers
Chop
Crape Hair,
an
whiskers
Vegxo Beards,
excellent
and
1 60
imitation
mustaches.
all ages.
Bach
Can
of
natural
furnish
$1,00 and
hair,
any
upward.
color.
used
for
Price
making
per
yard
beards,
26 """"
I"E
"WITT'S
DRAVING-ROOM
OPERETTAS.
XIaoli.:
15
Prloe
of Mnticftl Amateurs, both
ladies and gentlemen. Is not only yery
The nnmber
reflued
but is constantly iucreaidug. And
rery naturally, for there is no more
than in singing and playing
of spending leisure hours
and
the choice
pleatiautmode
Hitherto
there has been an simiwt total lack of
productions of our best composers.
in parloi-aby Amateurs.
Of
auitable
pieces adapted to an evening's entertainment
whole
^urse
accompaniments
Opems, or even
parts of Operas, require oix^estral
and full choruses
to give them
effect, and are therefore
clearly unfit for Anutteur
lacks the interest
of songs
given by a plot and a
performance, while a succesnion
to supply this want
The
lu this Series we have endeavored
contrast of characters.
best
to appropriate words, and
the wholo
music
of popular composers
is wedded
into plots that are effective as petite plays" but are rendered
woven
doubly interest*
log by appropriate and beantiAii music, speciallyarranged for them.
kige,
Af ricanus
by
Cbarse
Dumont.
or tlie
Libretto
and
Ethiopian Burlesque, in
Bluebeard*
Frank
male, 3 female
6
Bricade
Hasli
2 male,
Gaaee*
1 male,
Comio
1 female
Alter
by Alfred
B.
(Tbe)*
by Jos. P. Skelly.
CUrcninstaiices
Sedgwick.
Unaio
1 act
and
dialogue
Sketch.
Hnaio
characters.
Oomio
2 female
Irish
Musical
characters.
Operetta,in
1 act
Music
and
Libretto
character.
CoMic
C* "" B. Snsaii
Jane*
Operetta,In 1 act, by George G. Hart.
arranged for the piano by B. B. Steirly. 8 male, 1 female characters.
Bfltranced.
**
Operetta, in
Music
1 act
arranged from
Libretto
b/ A. B. Sedgwick. 2 male
II Troratore.''
GambrlnnSf
off I"aser
KinS
Dumont.
dialogue by Frauk
and
Ctoatlemen
Goons'
laly. Libretto
Year.
liOap
oach's
Mollir
nir*
Mr
8
Ethiopian Burlesque, in i act
male, 1 female characters.
Parade*
Musical
Sketch, in 1 act. Music
8 male characters
and chorus.
Musical
Duality. By A. B. Sedgwick.
** Genevieve
celebrated
de Brabant"
opera.
Sedgwick.
Irifih MuMical
1
Sketch, in 1 act.
male, 1 female
Walking
Pbotograpli.
La
Oocq's opera.
1
male,
1 female
Courlnblp
(Tbe).
OffHiibach's celebrated
opera.
B. Sedgwick.
1 male, 1 female
Mupic
1
Music
adapted firom Offisn*
male.l female character.
and
dialogueby
AlAred
Music
Duality, in 1 act
arranged
Libretto
Angot"
by Alfred B.
Comic
Operetta, in 1 act. Music
La Princess
de Trebisonde."
character.
"
Single
IVIarrled
illan
Comic
(A).
MurIc
Op"^retta,in 1 act
Offenbach's celebrated Opera Bonffe. "" Matlame
I'Archiduc."
B. Sedgwick.
6 male, 2 female
characters.
again
Libretto
Twin
by J. S. Mul*
character.
Musical
Fille de Madame
chnracter.
"
Sedgwick.
Queerest
Tall
Muaie
** Neck.**
IVIikacio
Musical
ffrom
tbe
} or
Japanese
Burlesque on
Gilbert aud
Sullivairs
Mikado.''
Dumont
Musio
By Frank
Opera of "The
for the piano by Samuel
Hosfeld.
arranged
6 male, 4 female characters and
chorus.
firom Le
Sold
fionous
opera,
characters.
Beer.
by Geo, Thatcher.
lUorlartjr.
B.
Verdi's
1 female
Muil/T
and
got
by Alfred
off A Sbark
tion and music
B.
tbe
Moner*
Sedgwick.
(Tbe).
rewritten
arranged
Libretto
arranged
Libretto
Comic
Operetta, in 1 act
3 male, 1 female
character.
Musio
from
by A.
flrom
by A.
and
Musical
and
IntrodooBy Tom
Hood. Sr.
Monologue.
adapted by A. B. Sedgwick. 1 female character.
Sisters
Comic
(Tbe).
Music
from
the moat popular
Opera, in 1 act
Cocq's celebrated
Oirofla-Girofla.'' Libretto
Open
Bouffe,
byA.B.8edgwtok. 2 tnalt,2 Ismalt oharaotcn.
numbers
in I^
*"
Christmas
Plays
FOR
Homes
collection of
A
Playsand
for Church
arranged
of the above
be
can
Entertainments
and
Home
specially
Amusement
Christmas-tide.
at
Any
Parishes.
and
used
sacceesfally
other
at any
Christmas, they being so azxanged that the part rehitive
than
season
to Christmas
be omitted.
can
The
quite
a
to commit
and
the
PUtys
are
number
briglitand
very
of
attractiTe,and
javenile characters
to memory.
The
Stage Directions
so
ftiU and
:90
JARLEY'S
the wom-ont
characters and
fresh
the
of
employment
dittcnlt
long and
*'
parts
'*
them.
Oents.
WAX
FIGURES.
but a fresh Tersion, introducingnew
original,"
descriptiTematter, and givinga diagram of the
the arrangement
the costumes
and
**
make-op
characters,and makes
an
"
of
the
of all.
figures,with
of either of the above
full directions
Bequires six male
entertainment
Price
copies
niiiglc
permit
"*
stage set and
$9
all
not have
difficultyin comprehending
Price
MRS.
do
for Scenery are
simple and inexpensive,
explicit that the merest
tyro in amateur
arrangements
are
theatricals will experience no
Kot
who
15
books
of about
an
and
hour
in
for
six female
length.
Oents*
on
sent, post-paid,
receipt of price.
POPULAR
BOOKS
HAND
lOB
"
"
eadings.i25_Recitati
R
46
VON
BOYLE'S"
RECHERCHE
A.
ocnnpflationbjr
new
delineator, containing
been
baying
this
from
written
genial
bjrhim
humorist's
"
repertoire,"which
the
fov the first
haying been
and
selections
good
PAPEh
time,
adopted and
taste.
e9VEH,
aiSSelect
Becitatie
Numbers.
and
elsewhere^
; also manj
now,
yariety
character
IRTITT'S
Gboice
Mm
School
to
new,
and
found
be
for this book
ILLUKtKATEO
PAGES,
elocationist
cannot
pieces^ old and
DB
Fiye
which
expresdj
bj him, with special reference
200
the
celebrated
this
pieces
manj
in print; all the
appear
Yised
RECITATIONS.
One
hundnid
each.
pages
Family: being
the
diflidrent phase
of
best
for
Specially adapted
pieces
of
their
kind
eye"
written.
Almost
best
and
eyery
effectiye
most
expression
lO
raiCE,
Copies of
any
of
in
the
above
hookt
passion and
some
sentiment
finds
its
of the pieces in this series.
CEIVTS.
sent
hy
mail
t" any
addresi, #ii
BOOKS
HAND
POPULAR
FOB
"
"
ReadingsiMEiRecitatio
WILLIAMS'
GUS
Fireside
Recitations,
Nos.
1
Being careful selections of
and
arffectivepieces of prose
mark
every
fresher
newer
and
core
in any
one
books
volume.
200
best
efiectivo
recited
writers
before
by
the
recited bj the compiler
been
refined
Whl'a
audiences.
retained,the majority
are
thost
each.
Stiff paper
covers.
Recitations.
of
pathetic,dramatic,comic
of the
large
compiler.
96
Copieso/nny of the
above
; all of which
times
audiences
I"ItICE,
"f price.
most
WILLIAMS'
fine collection
the
interestingand
most
if not impossible,
to pro.
difficult,
are
pages
Standard
by
haye
piecesare
productionsthat
GUS
A
purest,
approval,before large and
favorite standard
oithe
manjr
of
the
poetrj in the language.
Manj of the articles in these
with
2.
and
in
pages.
and
have
all parts of the
Paper
lO
hooka sent
dialectic
been
United
found
articles,
highly
States, a"
covers.
CENT!**.
by
mail
to any
address,on
receipt
Books.
Exhibition
SERIES
A
OF
I
ARRANGED
CHARACTER
ENTERTAINMENTS
StJITABLB
FOR
EXHIBITIOISrS
SCHOOL
EITHBB
OF
AT
(Hose of School
Shristots,lei Tear's and Other Holidays,
Terms, and
generaloceasi(Hi8.
on
B"citatioii", Beclanfttioo^,
Introdocing
DUlogoet,
Table^tix,
etc., iaterapened
.
with
simple
The
complete
music.
effective
and
Second
First
and
in
itself, with
nnmbers
bine
special
and
Holldajra
Songs,
Comprising
leaiax,
with
etc.,
full
^riea
for
use
in
by
an
each
uow*ready,
are
Teacher.
experienced
number
cover.
xo
School
arranged
and
the
Mnmlier,
per
Witt's
Selected
of
arranged
gold illuminated
and
Price,
De
Carefally
Cento.
Exhibitions.
either
Hmy
or
Sunday
Sclkoola,
on
""ccMSioms*
Clkomses,
instructionH
Recitations,
for
Tab-
Declamations,
successfully
sach
conducting
entertain,
meiits.
900
handsomely
pages,
Hlominated
and
substantially
bound
in
boards,
with
black
and
cover.
PRICE,
CfopUs "^
any
qf
tfu
t"ookM
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^
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60
mhU
CblNTS.
to
any
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BEST!
THE
BEST!
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"""
"SCHOOL"
PRICE,
SFEAZEES
"
"
The
0/
f9llomng
best
the very
in
collected
the
well
entire
as
in
one
Speakers
series.
series
Nothing
superior to
typography
will
and
be
"
found
declamation
piecesfor
EACH.
CENTS
TEN
to
been
all others
in
the
greatest
recitation that
and
has
contain
omitted
in
style and
have
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tk^ endeavor
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^re
well
N".
1.
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""PttIMART'^
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8.
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No. II.
THE
""EXHIBITIOH''
N"i" 4.
THE
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PATRIOTIC'
SCHOOL
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THE
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No.
%.
THE
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No.
7.
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^^ABTANCEB^"
SCHOOL
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No.
8.
THE
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SCHOOL
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THE
""
No.
10.
THE
^^SfTPERIOR"
No.
11.
THE
^^PERFECnON''
THE
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school.
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SPCAKEB.
SCHOOL
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make
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quality of matter^
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general appearance.
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as
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BEST!
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BESTl
"
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THE
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"W^ITT'S
"SCHOOL" DIALOGtTES.
PRICE,
"
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The
"
following series of Dialogues comprisesevery styleoftHalcgue^from
0't most
plain
and
simple
suitable
simple selections^
selected
from
of
the most
out
them.
the most
to the most
for
the
patheticand
deginners
dramcts^
effective
and
intelligent
and
No.
1.
THE
^^PRIMABY^
No.
2.
THE
""
PUBLIC"
No.
8.
THE
^"
EXHIBITION
No.
i.
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PATRIOTIC"
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h.
THE
""DEAMATIC"
No.
6.
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No.
7.
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No.
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THE
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No.
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UNEQUALLED''
No.
10.
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ADMIRED"
No*
11.
THE
""
CHALLENGE"
No.
12.
THE
""
HUMOROUS^'
""
JSingle copied
^
"
paid,
on
school
to
stage
are
;
the
affordto
can
easy^
others
do
an
effort*
with*
DIALOGUES.
DIALOGUES.
DIALOGUES^
SCHOOL
SCHOOL
DIALOGUES.
SCHOOL
DIALOGUES.
DIALOGUES.
SCHOOL
SCHOOL
"
Some
affordfull scope for
SCHOOL
SELECT''
eent
on
SCHOOL
COMIC
heroic.
the school
No
accomplished.
DIALOGUES.
SCHOOL
DIALOGUES.
SCHOOL
DIALOGUES*
DIALOGUES.
SCHOOL
SCHOOL
^
\^
EACH.
CENTS
TEN
DIALOGUES.
SCHOOL
DIALOGUES.
addreea
by
""'""
any
receipt
of
price.
maU*
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