Staging
[Fig. 1] depicts the lighting arrangement at back of frame. The guard-wires, running from side to side, are to prevent the possibility of dresses catching fire. The footlights usually consist of ordinary night-lights with illumination glass covers. Behind these are tin shades for reflectors. Electric light, if available, can be substituted for oil lamps as shown. In the same sketch a curtain-raising apparatus also appears. Two persons should be chosen for its manipulation, and be always stationed in such a position that they can draw and divide the curtain at the given signal.
Every separate production is timed by the stage manager or some other reliable person, and the duration of each should be exact. Three, or at the most four, minutes are ample time for the audience to take in the details of the picture, and the instant the curtain is drawn another group is arranged, the actors being perfectly familiar with the position and pose they are to take, going to their places without confusion or disorder.
In a succession of group-pictures different groups of actors are necessary, for it is impossible for the same persons to change their costumes in the minute or so that intervenes before the succeeding spectacle.
Where the number of players amounts to fifteen, twenty, or twenty-five, the number of tableaux arranged upon can be divided between them, and the productions, consisting of from two to five figures, arranged in such a way that during group A’s tableaux group B is ready in the wings and takes the stage the instant group A disappears through a different exit to the dressing-room. Next, group C takes group B’s place in the wings, and so on with all the groups. In this way each has a few minutes in which to change.
Fig. 1.—Lighting arrangement for back of frame.
Confusion and fussing will be prevented by each group knowing exactly their manner and mode of entrance. Some plan, which renders it impossible for group A leaving the stage to collide with group B in the wings, must be fixed upon. Because the tableaux take place in a strange drawing-room, where there is not much accommodation possible behind the platform, and few entrances and exits, is no adequate excuse for any bungling or confusion.
However limited the space, the stage manager and his company should hit upon some plan that makes for order and precision. To do this, the performers should come early to rehearse entrances and exits, and then memorize them, for any mistake behind the scene, even if of so slight a character that it does not retard the productions, is apt to disturb the nerves of the players, and rob them of their necessary calm.
There should be no laughing or talking, for sounds easily penetrate through a drawing-room, and not only disturb the audience, but draw from their task the attention of the group occupying the stage.