TABLEAUX VIVANTS.
In the estimation of some people Tableaux Vivants possess even greater attractions than Charades, simply for the reason that in their representation no conversational power is required. The performers have to remain perfectly silent, looking rather than speaking their thoughts; proclaiming by the attitude in which they place themselves, and by the expression of their countenances, the tale they have to tell. To others, however, this silent acting is infinitely more difficult than the incessant talk and gesticulation required in Charade actors. Naturally active, and gifted with a ready flow of words, the ordeal of having to remain motionless and silent, for even three or four minutes, would be equal to the infliction upon themselves of absolute pain. Still we must not be led to think that individuals devoid of character are the most eligible to take part in Tableaux Vivants; no greater mistake could be made. The affair is sure to be a failure unless the actors not only have the most perfect command of feeling, but are able also to enter completely into the spirit of the subject they attempt to depict. It would be useless to expect a lady to personate Lady Macbeth who had never read the play, and who, therefore, knew nothing of the motives which prompted that ambitious woman in her guilty career. In order to give effect to the scene the subject must be familiar and thoroughly understood by the actors. There is seldom any difficulty in the selection of subjects. Historical remembrances are always acceptable, and can be made to speak very plainly for themselves, while fictitious and poetical scenes may be rendered simply charming. Speaking from experience, one of the prettiest Tableaux Vivants we ever saw was one taken from Shakspere's "Winter's Tale." As soon as the curtain was drawn aside, Hermione was seen on a raised pedestal, so lifeless and calm she might well have been mistaken for marble. Before her was standing Leontes, an old man, with his daughter, Perdita, hanging on his arm, both evidently struck dumb with amazement at the likeness of the Statue to her who for so many years they had believed to be dead; while Camillo, Florizel, and Polixenes, also stood gazing in wonder. The good Paulina, dressed as a Sicilian matron, stood behind the Statue, or rather on one side, as the exhibitor of it. Presently were heard strains of gentle music, when the Statue stepped gracefully from her elevation, gave her hand to Leontes, and was embraced by him. The curtain here was drawn forward again, hiding from our sight a picture that ever since has been printed indelibly upon our memory. For comic tableaux scenes from fairyland or from nursery rhymes, would answer the purpose admirably. Some young lady with long hair might be made to be seen kneeling as Fatima, before her cruel, hard-hearted husband, Blue Beard; he with her hair in one hand, and a drawn sword in the other, just about to commit the horrid deed; the sister meantime straining her eyes out of the window, to catch sight of her brothers, who she knows are coming with all speed to the rescue. As to dressing and scenery, they are matters that must be left to the taste and fancy of the managers of the concern, who will soon discover that the success of Tableaux, even more than Charades, depends very greatly upon dress and surroundings. Charades speak for themselves, but Tableaux are so soon over, that unless the actors assume somewhat of the dress of the characters they attempt to personate, the audience would not readily guess the subject chosen. There is little doubt that with both Charade performers, and with those who take part in Tableaux Vivants, the assumed dress gives an air of importance to the proceedings which would not otherwise exist, and acts like a kind of inspiration (upon young people especially), making them perhaps more thoroughly lose their own personality in trying to be for a time some one else.