Part 2
The contents of the pie may be sugar hearts, rings, kisses, or any bonbons, mock rings, or gold rings, indeed, any article which can be easily tied up in a small bundle. It is desirable that there should be many articles in this pie that will cause fun and laughter. Blanks, such as an empty box, or some trifle rolled up in many papers. A bright piece of silver, called a lucky piece, or a half-sixpence, enclosed in a nut-shell, and like all the rest of the articles, tied up in paper, adds to the sport. All these bundles should be placed in the large bowl or dish and covered with bran. A large spoon can be laid on the top of the pie.
This pie should be placed on the table, after a Christmas dinner or supper, the guests or family all remaining in their seats around the table. If there are many little ones, it can be arranged beforehand, and have a servant, or some member of the family, place the pie at the front door, and ring the bell furiously and blow a trumpet; also place a paper on the top of the pie, on which is written, “A present from Santa Claus.” As soon as the bell is rung, the ringer must disappear at once, as children are wide awake at Christmas. We had a bran pie brought in that way; the children rushed to the door, and in their eagerness to see Santa Claus, ran past the pie some distance, looking eagerly on all sides; when they returned, one little boy declared he saw him whisking round the corner of the street. When the pie is on the table, everybody is invited to partake. Each in turn takes a spoonful; whatever bundle the spoon touches is theirs; the bundle must be opened at once and exhibited before the next person dips. The very inappropriateness of some of the gifts helps to create laughter, and there is a good deal of amusement in the after exchanging, or refusing to exchange, when the pie is all distributed.
3.--TWELFTH NIGHT.
In England their festivities continue twelve days. Twelfth Night is sometimes called “Old Christmas,” as it was the day celebrated as Christmas before the almanac was changed. The change was made by Pope Gregory XIII., during the year 1752. Therefore Twelfth Night has its own peculiar festivities. In some portions of England they have a large gathering of friends. During the evening two dishes of little frosted cakes are passed round, one for the gentlemen and one for the ladies. In each there is one cake with a ring, and one with a broken sixpence. The two who get the ring will be married before the year is out. The broken sixpence indicates an old bachelor or an old maid; but if the two agree to join their broken sixpence, there is a chance for them. So says the old tradition.
A lady, whose early youth was spent in England, says where she lived Twelfth Night was celebrated especially by the children. At their social parties they selected a king and queen, who regulated the festivities of the evening. Sometimes the lady of the house prepared cards, with various figures written or drawn upon them, among them a king and queen. Each child drew a card on entering, which designated the character he or she was to represent. Of course the lady managed to slip the cards of king and queen into the hands of those best able to preside.
In one of our small cities, where there are several families who unite in keeping Twelfth Night every year, they have but one ring, and whoever gets it must give the party the next year.
4.--THE CHRISTMAS BAG.
Make a large bag of thin white paper or silver paper, fill it with sugar plums, and tie a string around the top, to keep it fast. Then suspend it from the ceiling, or from a large door frame, and provide a long, light stick. Each little child is blindfolded in turn, and the stick put into his or her hand. She is then led within reach of the bag, and told to strike it. If she succeeds in her aim and tears a hole in it, the sugar plums are scattered on the floor, and the little ones scramble for them; but it is by no means easy to strike a suspended object blindfolded; generally many attempts are made unsuccessfully. Each child is allowed three trials. The maker of the bag can put in it tiny books, pincushions, or any little toy, with the sugar plums. This bag would add to a child’s party; it is often used at birthday parties. An older person should always superintend, for some children would be greedy or rude.
=AMUSEMENTS FOR CHRISTMAS HOLIDAYS.=
ADAPTED TO ALL AGES.
Shakespeare reading clubs, private theatricals, charades, and tableaux are deservedly the popular home amusements of the present day. They certainly strengthen the lungs and memory, and improve the intellectual tastes. These amusements are peculiarly adapted to enliven long winter evenings. As some of our young friends may not understand the _modus operandi_ of these amusements, we will try and enlighten them.
1.--SHAKESPEARE READING CLUBS.
Some clubs read Shakespeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakespeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays, such as Sheridan Knowles’ plays. Also, it is an admirable way of learning to converse easily in German and French to read plays in the different languages. In reading these plays, the parts, in the beginning, should be given to different members.
The librettos of many excellent plays can be bought for a very small sum, such as “Ion,” “Hunchback,” “William Tell,” “Love’s Sacrifice,” and many other excellent old plays. These small books are less cumbersome to carry around. It is well before the club meets to read any play, to have each person read over his or her part, so as to be able to comprehend the character. Therefore the play to be read at each reading should be given out at the close of every meeting, and the parts selected, each member having an equal share. Such clubs are far more agreeable to its members, and less likely to cause unpleasant rivalries, than clubs for private theatricals, as private actors are often jealous, for human nature, alas! is weak.
We have known of some very successful clubs, where discord and jealousy never appeared, and where harmony reigned. We will give the manner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies, with a view of making home and winter evenings agreeable to their brothers. A committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the librettos of their plays. The following rules were signed by all the members:--
1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.
2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.
3. The one who selects the play has a right to the best character.
4. The club shall meet once a week at the houses of members, in alphabetical rotation.
5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.
6. No new member can be admitted without the vote of the majority.
7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.
At first they merely read the plays; but soon they partially acted them, and found them increased in enterest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them, or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.
There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they became familiar with the best plays, without wearying of them, and each member had an opportunity of consulting his own taste.
Before the winter closed the members of this club found they could so easily learn their parts, that they rarely were obliged to refer to their librettos. Constant practice improved their memories. Often those whose parts were associated together, would meet for private practice.
2.--PRIVATE THEATRICALS.
Private theatricals amuse a large circle of _friends_, and any club willing to undertake the presentation of plays deserve the thanks of their audience.
Even a simple farce requires much labor and frequent rehearsals to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the footlights, stage, &c., must be prepared. A few directions, with a list of easy farces, may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of towns and villages, we will give a short account of how such things can be managed.
Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor, a gas pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye), are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvas, by being strained when wet, over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.
Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, and under the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side marks age or emaciation.
A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, ravelled yarn, or gray-colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel, with tags of lion-skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.
Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the armholes in the sack must be fastened up on the inside) by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and, lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan; thunder, by rattling sheet iron; lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.
Dissolve crystals of nitrate of copper in spirits of wine, light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.
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The publishers of this book have printed a large number of small plays, adapted for private theatricals, called “The Amateur Drama.” We will mention a few of them that are good; the old comedies and farces are well known to all.
DRAMAS IN TWO ACTS.
Sylvia’s Soldier, 3 male, 2 female characters. Once on a Time, 4 " 2 " " Down by the Sea, 6 " 3 " " Bread on the Waters, 5 " 3 " " The Last Loaf, 5 " 3 " "
DRAMAS IN ONE ACT.
Stand by the Flag, 5 male characters. The Tempter, 3 " 1 female character.
FARCES.--MALE AND FEMALE CHARACTERS.
We’re all Teetotallers, 4 male, 2 female characters. A Drop too Much, 4 " 2 " " Thirty Minutes for Refreshments, 4 " 3 " " A Little more Cider, 5 " 3 " "
FARCES.--FEMALE CHARACTERS ONLY.
The greatest Plague in Life, 8 characters. No Cure no Pay, 7 " The Grecian Bend, 7 "
ALLEGORIES.--ARRANGED FOR MUSIC AND TABLEAUX.
Lightheart’s Pilgrimage, 8 female characters. The War of the Roses, 8 " " The Sculptor’s Triumph, 1 male, 4 female characters.
3.--CHARADES.
There is no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.
A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action, and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teach them ease of manner; but let them only act before a home circle.
A talented friend of ours has a very pleasant way of acting charades in her own family circle, which is well adapted for large family circles, such as assemble together on Thanksgiving, and during Christmas holidays. This lady unites her family with a few other pleasant friends.
For a good charade party, twelve or more persons are desirable, and two rooms, connecting by sliding or folding doors, are the most convenient, though two connecting by only a single door will do, if the party is not a large one.
First, two persons should be chosen managers; then the managers must choose sides, so that the company will be about equally divided. The sides then take separate rooms, to become, alternately, actors and audience; the managers draw lots to see which side shall act first. Those that are to begin, first choose a word, then proceed to represent it. A common way is to divide the word into syllables, and present one at each scene, then, after having gone through the word, if the other side cannot guess it, a scene is given to represent the whole word. When all is ready for a scene, the door is thrown open for the others to look in and guess it. Frequently a whole word is given at once in one scene. The manager must always announce whether one syllable or more is given. After giving the audience time to guess it or give it up, the parties change rooms, and the other side must act; they will, of course, have their word selected and all arrangements made, as they had sufficient time while waiting for the others.
In acting the word, each party must try to mystify the other, yet the syllable must be well represented; but there can be by-play to divert the audience from the real word. The party that guesses the whole word the soonest, are considered the conquering party. Care must be taken not to let the actors know if the audience guess the word before it is fully acted.
Sometimes in the place of words, proverbs are acted. Each word is acted in turn, or two words are acted in one scene; if the latter, before the scene is acted, some one of the actors can inform the audience that they will act two words of the proverb.
A few directions for acting certain words and proverbs, and a short list of words and proverbs easy to be acted, may be an assistance to our youthful readers.
If a word or syllable can be represented by action, it should be seldom spoken; but in some cases syllables must be spoken to give an idea of the word. Some prefer acting charades entirely in pantomime.
4.--CON-JU-GATE.
_Con._ Arrange a school, one of the actors dressing as a country schoolmaster; let the scholars all have books in their hands, conning their lessons in loud whispers.
_Ju._ The same school can be retained. One of the actors, dressed as a German Jew pedler, can come to the school to sell pens, pencils, paper, chalk, &c. He can talk in a broken Jewish manner. The _Jew_ should be prominent in this scene.
_Gate._ This syllable, instead of the common representation of a gate, made with a small clothes-frame, &c., can be represented by having the whole company of actors dress in odd garments, and walk about the room in couples, each with a different gait, hobbling, striding, pompous, &c.
_Conjugate._ Let the same schoolmaster assemble his unruly school, and give out verbs to be conjugated; the scholars, to make the scene ridiculous, should mix up languages and conjugations in a medley.
5.--DUMB-FOUND.
_Dumb._ Let a certain number of the actors be seated in a row, when the door opens, or the curtain is drawn aside; let them remain perfectly silent for two moments, then let them silently rise and walk out of the room. Or as they sit silent, some actor can come in and ask questions to each, receiving only a vacant stare in answer; he then can rush out of the room, calling them a stupid set; it would be too plain to call them dumb.
_Found._ This can be made very amusing by arranging a court scene, judge, jury, and lawyers, and a prisoner’s box, in which an actor, dressed as a servant-girl, can be seated as the criminal accused of stealing a pocket-book. Witnesses can be examined. After the court has gone over the case, and the lawyers make as much sport as possible in their examination, a boy, dressed as a ragged Irish boy, should rush in, pocket-book in hand, calling on the judge to hear him. After ordering him to be turned out, and much talk being made about turning him out, at last, in a broken Irish voice, he must scream out, “Plaase yer honor, it’s me that _found_ it,” holding aloft the pocket-book. The judge must request to see the pocket-book. (A young boy once acting this part, caused much laughter, by exclaiming, “Och, and indade is the court honest?”) The judge having examined the pocket-book, declares the girl innocent, and dismisses the court.
_Dumbfound._ The room should be partially darkened, and some of the actors seated around the room talking as they please. One of the actors can be dressed as a ghost. A giant ghost acted by dressing up an umbrella, or a broom, arranging it with long white drapery of sheets, and the person carrying it can raise the dressed-up umbrella or broom as they enter the room. The ghost can glide slowly around the room; its occupants should exhibit silent horror, either by crouching down, contortions of the face, or in any way possible, but not a sound should be uttered.
6.--SO-RO-SIS.
_So._ One of the actors should be dressed as a schoolmistress; some children can be seated by her with patchwork in their hands. The mistress can teach them sewing, while in another part of the room an actor must hold some papers of seeds, and pretend to be sewing the seeds in a box or pot of earth.
_Ro._ Place the actors all in a row; let them stand gazing at the audience a moment, then all at the same time make a low bow to the audience, and that scene is over.
_Sis._ Have a school, and the master should call “sis” to come and recite; any little girl can take the part of “sis,” or some boy can complain of his “sis” to the teacher.
_Sorosis._ Can be made very amusing by representing an assembly of strong-minded women. The gentlemen actors can dress in outlandish dresses, and act the part of women. They can choose a president, and other officers, &c.
7.--LAMENTABLE.
FRENCH CHARADE.
“L’amont” can be acted well in pantomime by representing an old deaf man, and his young wife; the old man with spectacles on nose, sitting in a large chair, reading the newspaper, his young wife standing behind the chair. A low tap is heard at the door. She starts and listens; the door opens slyly and discovers a young man. She starts with delight, but points to the old man, motioning the young man to go. He makes gestures of despair; then appears to have a sudden thought, bows, and retires. Soon a loud knock is heard; she goes to the door, and returns with a letter, giving it to the old man; he reads, shakes his head, and hands it to her; she looks at it, runs for his hat and coat, and motions him to go. He leaves at one door, while _L’Aman_ enters at another. Then they act a lover-like scene, and the curtain drops.
_Table._ She again appears with sleeves rolled up, apron on, rolling-pin in hand, making cakes, the young lover standing by, and now and then eating one of the cakes. They hear a heavy step, and the lover runs for a hiding-place. At last he springs under the table, and she pulls a table cloth down around it, and goes on rolling cakes. In comes the old man, hobbling along. He looks around and suspects something, and begins a strict search. Thus ends that scene.
_Lamentable._ The same actors appear, but the table is turned over, and, behold! the old man has seized the young lover, and is brandishing aloft a heavy cane, while the young wife appears, weeping bitterly.
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