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Page 10
THE CURTAIN FALLS SLOWLY.
THE APPENDIX
[Illustration: Sketch of hut scene for "Why the Chimes Rang," before the
backing of the gauze drop is raised. (Everything back of the fireplace
on the left, and the window on the right, is painted on the gauze,
including the stool and the supporting pillar.)]
[Illustration: Sketch of chancel scene for "Why the Chimes Rang," after
the backing of the gauze drop is raised. (For simplified setting made of
screens, see diagram on page 34 of appendix.)]
The accompanying scenery plates are not intended to be followed in all
their elaborate detail but merely to give an idea of the effect to be
worked toward in planning the scenery.
APPENDIX.
The following suggestions for a simplified staging of "Why The Chimes
Rang" are offered, not to college dramatic societies or other expert
amateurs but to the many young people in the secondary schools, Sunday
schools and country districts, who would enjoy staging short plays if it
could be done without elaborate scenery or lighting equipment and
without previous experience in stage management.
Simplicity aided by imagination goes far upon the stage, and it should
always be remembered that the real aim is the creation of a given
emotion in the minds of the audience rather than the creation of a given
thing upon the stage. If a circle of gilt paper on the head of a fine
looking lad can create a vivid impression of kingly dignity, all the
crown jewels of Europe cannot better the paper for stage purposes.
In producing a play, it should first be carefully read to see what main
impression is to be conveyed, and what chief elements are to be
emphasized to make up this impression. The details can then be worked
out in harmony with the more important factors.
In "Why The Chimes Rang," religious exaltation is the mood to be
created, and the divine beauty of charity is the main theme.
Three sharply contrasted effects are called for: the wood-chopper's hut,
dark and humble; and, set against this, the earthly splendor of the
cathedral chancel, which in its turn is dimmed by the miraculous
presence of the angel.
It is expected that this play will be adapted, by those giving it, to
the form and degree of ritual desired. Censers and candles may be used
or not, altar appointments and priestly vestments may be chosen to suit
the taste of those concerned. Indeed, in all respects, a play must be
suited to the conditions under which it is presented and the audience
before whom it is given; and while the text may not be altered or added
to, lines may be omitted if desired.
The information here given has been gathered from frequent working over
of the material but at best it can only help in a general way. Any one
producing a play must work out his own problems in detail. One of the
things that makes the staging of plays such fascinating work is the
exercise it affords the imagination in overcoming obstacles.
SCENERY
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