Marionettes, masks and shadows

by Winifred H. Mills; Louise M. Dunn

The profiles of the children were not in the least Indianlike. It was necessary to provide them with characteristic Indian noses and this was done by glueing on flat cut-out paper noses.

The producing of a shadow play requires a director and two assistants, as well as the group of actors. The director is responsible for the production of the play which will probably require five or six rehearsals. During the first rehearsal he stays behind the screen, working out with the group each incident of the play. He and the group decide upon the entrances, positions on the bridge, the exits, and those who are to manipulate the shadow animals receive their instructions. The reader should be present at the first rehearsal, in order to observe the development of the play. At this rehearsal the actors need not be in costume. Each actor begins by interpreting his part as he feels it should be done. The Director should inspire and encourage his actors to do their best and guard against being too critical at this time, since everyone is feeling his way—becoming familiar with properties, and with this new kind of acting in one plane.

It was in the first rehearsal of The Indian and the Oki that the boy who took the part of Scandawatti discovered, as he was trying to escape from the bear, that it would look more natural if he got out of the bear’s reach by climbing the rock, rather than by dodging behind it. When a stepladder was placed behind the beaver-board rock, the boy, after much practice, was able to make it appear to the audience that he was really climbing the rock. He was finally able to give a little slip as he reached the top, just as the bear was about to overtake him. This gave a real thrill to the young spectators.

At the second rehearsal the Director takes his position in front of the screen. He watches every movement and gesture of the actors. He guides the actors who cannot see their shadows, because they are so close to the screen. If he understands pattern and rhythm he can direct their movements so that every movement of the shadow play will be beautiful. The reader begins his part at the second rehearsal. He can give an introduction and carry the story on between the acts, or he can read as the play is being given. The reader may be a girl or a boy and should be chosen for a rich, well-modulated voice, dramatic sense, and ability to enunciate distinctly. The reader should be appropriately costumed.

Introducing a dancer in a shadow play presents a problem. In the second scene of The Indian and the Oki you can see in the illustration how the height, and bulk, and dignity of the Indian chief on the left and the curved line of the trapper’s body on the right were used to frame the space for the rhythmic movements of the dancer. The dancer also had his problems. The first was that of keeping a characteristic Indian silhouette on the screen at all times. The second problem was that of varying his movements to show his veneration for his chief and his adoration for the Great Spirit. The beating of the tomtom gave the tempo for the steps of his dance. A teacher who understood folk dancing coached the boy who took this part outside of the regular rehearsals, so that he might gain confidence and skill.

More scenes from the human shadow play, "The Indian and the Oki."

By the fourth or fifth rehearsal, if the actors can interpret their part naturally and convincingly, they will be ready to put on their costumes. Here many surprises await them. As an illustration of this the shepherdess in the play by that name made, for herself, a very correct little bodice. When she appeared on the shadow screen her silhouette was very disappointing. In order to give the right effect, a short length of cheesecloth was slashed six or seven times at the ends, and then drawn tightly around her, and the slashed ends were tied together down the front. You can see her in the illustration, as she kneels on the bridge manipulating one of the fighting sparrows in the first scene of The Indian and the Oki. The long heavy braids of this shepherdess were made of yarn.

Any ordinary lantern or an electric light with a reflector may be used for lighting the screen. A screen 7 by 12 feet will require a 400-watt light placed about eighteen feet behind it. If you have very little space behind your screen, your lantern may throw a large disk of light. You can avoid this disk by fastening to the front of the lantern a piece of asbestos with an opening cut to the same proportions as the screen.

There are many possibilities of using color in a shadow play. A safe rule to follow is either to use color throughout a play or not to use color at all. A sheet of colored gelatine placed in front of the light will diffuse color over the entire screen. The time of day can be suggested by color: pink for early morning, yellow for noon, yellow-orange for the late afternoon, blue or blue-green for night.