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Page 12
Very few halls ostensibly built to house amateur play-giving are
adequate for the purpose.--Often the stage is merely a shallow platform
without curtains to separate the actors from the audience, and the
ceiling and walls surrounding the stage are so finished that the
necessary screws for hanging curtains, may not be driven into them. The
amateur manager reaches the depths of despair when he finds that even
the floor of the shallow platform offered him, is of polished hardwood
and may not be marred by the screws of stage braces.
Amateurs who have any voice in the preparation of the stage being built
for them, should urge the following specifications:
1. The ceiling of the stage to be at least twice as high as the
proscenium arch.
2. The depth of the stage to be at least fifteen feet, deeper if the
size of the place permits.
3. The flooring, walls and ceiling of the stage to be of soft wood, into
which nails and screws may be driven; or if the main construction is of
brick, concrete or metal, some inner wooden scaffolding or other
overhead rigging capable of supporting scenery should be provided.
4. There should be some space on both sides of the stage for keeping
scenery and properties to be used later in the play, and as a waiting
place for actors temporarily off the stage. The platform forming the
stage proper should be continued over these wings so that actors leaving
the scene may walk off on a level and not seem to plunge cellarward in
making their exits.
LIGHTING.
The important thing to be remembered about the lighting is the crescendo
of light which occurs as the play runs its course. First the dim little
hut so lit by the firelight, that the expressions on the faces of the
actors can just be seen without straining the eyes of the audience. Then
the rich but subdued lighting of the chancel and finally the brilliant
radiance shining on the angel.
Experiments with electricity should not be attempted by persons who do
not understand its use, but if there is a competent electrician in the
group putting on the play, use electric lighting by all means. No other
form of light is so easily controlled or begins to give such effects for
stage purposes.
The problems of theater lighting differ with each set of conditions and
the best results can only be obtained by actual experiment with the
means at hand. Do not feel that because you are an amateur, working with
limited equipment, real beauty is beyond you. I have seen a stage
picture approaching a Rembrandt in its charm of coloring and skilful use
of shadows, created on a tiny stage with few appliances by an amateur
who understood his lights.
If electricity is to be had, use three or four incandescent globes for
the fire on the hearth, arranging logs of wood around them to simulate a
fire. Additional lights as needed can be placed at the side off stage,
or in the footlights; or better, if the stage has a real proscenium
these supplementary lights can be put in a "trough" that protects and
intensifies them and hung overhead in the center against the back of the
proscenium arch.
As all these lights are to give a firelight effect, the incandescent
globes should be dipped in a rich amber shade of coloring medium which
may be bought at any electrical supply house for sixty cents per half
pint. If gas or oil is used a firelight effect can be obtained by
slipping amber gelatine screens in front of the lamps. These "gelatines"
are about two feet square and cost only ten cents apiece.
If the fire-place cannot be made, then a charcoal brazier will serve as
an excuse for light and give a sense of warmth to the scene. The brazier
can easily be made by any tinsmith from a piece of sheet iron supported
on three legs, and there is an illustration of it in the right hand
corner of the accompanying scenery plate.--An electric torch or even an
ordinary lantern can be slipped inside the little stove to give out a
faint glow. A piece of one of the amber screens put over the torch or
lantern will warm the light and the brazier can be placed anywhere in
the hut.
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