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by Cecil Henry Bullivant

True-to-Life Representations

Tableaux may be divided into two important classes—the portrayal of abstract qualities, which usually includes motionless figures posed in sustained attitudes, and historic and romantic groups, in which the actor is allowed some occupation.

The Hero.

The Martyr.

The first class is most difficult of successful achievement. In it, the whole gamut of emotions common to mankind may be symbolized, and in these attitude and gesture are governed by the mind, which should be revealed in every muscle, curve, and limb of the human frame.

The Ascetic.

The Fanatic.

Strength, courage, fidelity, chivalry, purity, and honesty should be posed in such a manner that the simple grandeur and dignity of these attributes cannot be mistaken. The hero, the martyr, the ascetic, the fanatic have each a commonly recognized type and pose.

The shrinking form of the coward—he who fears all things greater than himself—must bear the stamp of the puny soul unveiled. The eye of the hypocrite, the cunning, the evil and degraded, is as different from the gaze of the pure of heart as the muddy, stagnant pool is different from the wide, blue expanse of salt sea—the air of a foul room from the breath inhaled beneath the open sky.

And in the same way that grand music is expressive of all human emotions, and as welcome to the ear as the song of birds, so form and color, attitude and character, in living pictures are potent emblems of the strength and weakness of complex humanity.

The figure that is to symbolize Hope must possess that wondrous attribute in herself, otherwise no trickery of dress or limelight can make her anything but a caricature of the spirit of optimism.

So that, in order to portray virtues and vices as they are, the stage manager’s craft reaches beyond superficial knowledge. Psychology and intuition are even more important to him than experience regarding blending of colors, arrangement of lights and grouping of forms, for the human mind is the keynote in which his music is revealed, the touchstone of his secret, the mystic spirit dominating the symmetry of gesture.

In the choice of individuals, personal character is weighty—pink and white flesh tints, however perfectly blended in a face, do not stand for Patience, Charity, or Sympathy unless the heart behind is pulsed on the pivot-springs of these virtues, for the experienced eye of the spectator probes beyond paint and attitude, and knows perfectly well whether these virtues are rightly embodied or merely distorted mimicry.

Therefore the stage manager of tableaux vivants, before all else, needs penetration in recognizing and choosing exponents suitable to interpret the abstract conditions he is anxious to depict, and it is only when his choice is made that the training, grouping, and scenic effects need be considered.

Tableaux vivants are in character not unlike a symphony. The theme in both is important. In the latter, the interweaving of other parts enhances the beauty of the dominating strain, as in the former, where harmonizing colors and stage effects, important as they are, remain ever subordinate to the principal conception aspired.

Of course, in the training of subjects, it is very necessary that one attitude should be maintained by each figure and remain unbroken from the lift to the fall of the curtain, and this without rigidity of body, unless the characteristic is typified in rigid lines; but even more important is the necessity that the mind should not waver nor the features change to an expression not in harmony with the attribute typified.

Hope does not frown or smile, and all nervous twitching is absent from the tranquil face and figure of Serenity. Courage shows a lofty brow and steady eye—the shoulders are squared resolutely, but not aggressively.

Mercy, Pity, Love, Gentleness, Sweetness, and Charity are most perfectly imaged by women, who naturally possess these virtues; Dignity, Determination, Steadfastness, and Chivalry by men. But the stage manager need not limit himself by any conventions in this particular, for it sometimes happens that a woman’s face and form breathe characteristics usually found in certain types of manhood, while a man’s countenance may be eloquent of the gentle virtues typical of womanhood.

The thoughts of each character must be concentrated on the part undertaken, and the onlookers absolutely forgotten. As far as possible the actors should forget that there is a certain amount of strain in the immovable pose, otherwise limbs will twitch and the balance and pose be in peril. With sufficient practice it will not be difficult to remain in the attitude fixed upon for the few minutes after the curtain is lifted. It is only at first that the limbs, either through inexperience or nervousness, prove rebellious. The impersonators should not be afraid to breathe regularly, for this prevents artificial rigidity.

Figures should not be crowded together. A small stage, such as would be used in a drawing-room, requires a picture in proportion. The dresses and lights should blend harmoniously with the background and frame.