From A the current from one wire passes to the stationary electrode C which is submerged in a gallon jar of water containing one eighth teaspoon of ammonium chloride. The graduated electrodes (all connected) are fastened to the wooden bar B which is made to slide up and down the vertical posts at either side. Both sets of electrodes are made of thin sheet copper. By means of the cord (attached to the screw eye in B) which runs over the pulleys D, D down to the spool drum E, the upper electrodes can be slowly let down into the ammonium chloride solution, completing the circuit and increasing it as more of the electrode surface is exposed to the liquid. This dimmer will carry as many lights as your theater will ever require.
CHAPTER IX
Training Your Puppeteers
The stage is set. The play has been chosen. The puppets are ready. Let us gather around the table to talk about our parts. There should be a copy of the play in the hands of each puppeteer. Begin by reading the play, each pupil reading the part that he has chosen. After the reading, discuss and analyze each character, his appearance, his disposition, and his voice.
For instance, Captain Peggoty in The Childhood of David Copperfield would have a rough-and-ready seaman’s voice that would boom from his deep chest, but his words would show generosity and kindness. Alice, in Alice in Wonderland would have a little girl’s voice, one that would suggest wonderment, sometimes impatience, and a quaint dignity when she tried to appear grown up. The White Rabbit’s voice would be high, nervous, and impatient. The Caterpillar would have a slow, full, dignified voice, while the voice of the Duchess would be gruff and peppery. Deacon Bowman, the faithful old servant in Men of Iron, would have the trembling, wavering voice of extreme old age.
How shall the right person be found for each part? One of the most satisfactory ways is that of trying out for parts, with the group acting as a jury. The judges must keep in mind that the voice is very important in interpreting character and they will do well to choose the voice that is best suited to the character. If each puppeteer takes the same position at the table at each rehearsal, you will soon associate each voice with a certain place. This will make it much easier to address your lines to the proper character. The lines should be reread slowly for the sake of better understanding. In this way, each in turn soon comes to read the lines of his character with real appreciation. Do not hurry over the little words. Every word should be clearly spoken. Lift your eyes as often as you can from your manuscript. “Talk” your lines. In almost no time you will know your lines without looking at them. When you can speak your lines so naturally that any of your friends, with his eyes closed, could imagine the character you are interpreting from your voice, you are ready to take your puppet in hand.
Manipulation of your marionette is the second step in your training as a puppeteer. You will be surprised at the amount of time this requires. Some of the greatest puppeteers have spent months learning to manage a single puppet. In all your practice work, avoid careless motions of your hands, with your thoughts elsewhere. Be wholly absorbed in what you wish to do.
