CHAPTER XXIV

STATUARY TABLEAUX

In the first place the statues must be white—not nearly white, but very white—flesh, hair, and costume; then the background must be black, a dead, lustreless black. Given these two requisites any figure, or group of figures, will look like statuary; and when care and pains are taken in the posing and draping and the proper light is thrown on them, the living, breathing, warm flesh and blood so closely resembles the cold, lifeless marble, it is difficult to realize one is not looking at statues carved by the hand of man.

=The Stage=

Arrange the background on the stage in the form of a three-fold screen, with sides slanting outward to the front. When possible, the top of this space should also be covered with the black material, slanting up to the front; in this way the statues are entirely boxed in, the only opening being the front of the stage. That is, the only apparent opening, for between the back and side panels a space about one foot wide must be left for side-lights, and on this account the back should extend at least one foot beyond each side-panel.

=The Lights=

A strong calcium light directly in front of the stage, though some distance from it, is best for amateur tableaux, and the side-lights at the back need be used only when it is imperative that no shadows shall be cast on the background, as in the case of the armless statues. With the cross-lights thrown behind the statue, the black-covered arms melt into the black background with no shadows to betray their presence. Tall piano lamps are best for this purpose.

Again, the front light may be placed nearer one side of the audience-room, and a pleasing effect of light and shade on the statuary itself be produced.

=Pedestals=

Place a platform about one foot high, and of a size to hold the largest group, in the centre of the stage, and leave it there as a base for all other pedestals. Packing boxes of various sizes, chosen to suit the statues, make excellent pedestals, and these, as well as the platform, must be smoothly covered with white cotton cloth.

=Costumes.=

Pure white Canton flannel is the best material to use, as it drapes most beautifully and takes the true sculptor’s folds. It should not, however, be too heavy in weight, else it will be stiff and unmanageable.

The Greek or classical costume is almost the only kind you will need, and it is made simply of two breadths of the canton flannel sewed together and fastened at the shoulders; the slits for the arms being left open nearly to the waist. Under this is worn a sleeveless waist of the same material. A cord tied around and just under the bust, and the dress pulled up to bag over gives one style of costume; tied around the waist and bagging down far below it, gives another, and both under the bust and around the waist, still another. The dress should be long enough to allow of all this pulling up, and if too long when the statue is mounted on her pedestal, it can be turned up underneath; no hem is necessary on these garments. An extra piece of drapery is almost always a part of the costume, and is used for wrapping around the figure to give the narrow effect at [Illustration: Fig. 575.] the feet; this should be about two yards long and of two breadths of the material sewed together.

Make the sandals of white insoles or two pieces of heavy card-board, cut to fit the bottom of the foot, extending half an inch beyond all around.

Cover the card-board with white material (Fig. 575), and sew together as in Fig. 576. Fig. 577 shows a simple and modified form of sandal. Cut the side and back pieces from the white material like Fig. 578, and sew them to the soles as in the Fig. [Illustration: Fig. 577.] 577. Also sew white tape to the points of toe and heel pieces, as shown in the diagram, leaving free the two ends at the ankle for tying.

Mop-rope, the loosely twisted rope used for floor-mops, is the material from which to fashion imitation

=Marble Locks.=

Make a tightly fitting white cap to entirely cover the hair, as a foundation for the wig.

In order to have the parting of the hair directly in the middle of the head, put the cap on and, with a lead-pencil, mark the desired line. The rope must be then untwined and the middle of each strand laid across the top and stitched down along the pencil line, half the length falling on one side, half on the other. After this the wig can be donned, the hair arranged and pinned in place according to taste or the fashion selected, and then stitched securely to the cap.

When the hair is done up high and a side or back view is shown, it is necessary to sew the ends of the rope along the bottom edge of the cap at the sides and back, as the locks are drawn up from there. A narrow border of raw cotton sewed entirely around the edge of the cap so that it will extend a trifle over the forehead and neck, does away with the dark edge of hair which it is, otherwise, almost impossible to hide. When only a front view is desired, the back of the cap need not be covered with the rope. Men’s and children’s wigs are made on the same principle, be their hair long or short.

The face, arms, neck, and hands must be as white as it is possible to make them. Face powder applied in the ordinary way will not give the required whiteness, and it is easily rubbed off.

Here is a professional actor’s recipe which is perfectly harmless and will make the

=Flesh Like Marble:=

Take one ounce of white-zinc powder and three ounces of glycerine and rose-water—two-thirds glycerine, one-third rose-water. Shake the glycerine and rose-water together, mixing them well, then add the ounce of white-zinc powder and shake again until thoroughly mixed. Apply with a sponge and let it dry, then smooth it with your hand and powder with any pure face powder.

=To Remove=

First wash with warm water, then rub with cold-cream. Wipe the cream off with a soft linen cloth, after which powder the skin to prevent chapping. Always allow plenty of time for making the flesh absolutely white, as this can not be done in a hurry.

=Subjects for Tableaux=

It is a wise plan to choose a subject already presented by some sculptor and copy his work as closely as possible, for the artist has given much thought and study to the posing of his figures and the lines of his drapery, and one can be sure the artistic effect will be good; or a subject may be found in some painting which will be suitable for statuary, and this also will have the advantage of having been designed by an artist. Most of the tableaux should be selected in this way, but a few variations, where a surprise for the audience is prepared, or seemingly impossible effects are produced, gives piquancy and charm to the entertainment.

=The Armless Bust=

The effect of armless or mutilated statues which, to the audience, appear almost miraculous, may be produced by simply covering the parts of the body, supposed to be missing, with dull black cloth. Everyone knows that by covering one of the front teeth with a piece of black sticking-plaster the perfect effect of a lost tooth is given, and it is on the same principle that limbs are cut off or figures decapitated in statuary tableaux.

The illustration of the armless bust shows how the arms are made to disappear by drawing over them a pair of black [Illustration: Fig. 579.] [Illustration: IN THIS MANNER MAKE THE ARMLESS BUST.] stockings, or long, narrow bags. In this tableau the side-lights must be used to prevent any shadow from being cast upon the background; the lights must shine behind the statue, not on it.

The pedestal is made of a packing box, with the top cut out to admit the figure, as shown in the diagram (Fig. 579). A fine color effect is produced when this pedestal is covered with dark red material, upon which rests, to all appearances, the pure white marble bust. In covering the top of the pedestal cut the cloth to extend around over the opening at the back, and it can be fastened down after the bust is [Illustration: Fig. 580.] in place. For this statue the front light must not be too strong and its full force should be concentrated on the head and bust, leaving the arms in shadow.

Another quite wonderful effect is that of the

=Portrait Medallion=

To produce this set a frame up near the front of the stage, over which is tightly stretched the black material of the background. In the centre sew a piece of white cloth cut in an elliptical shape, about two and a half feet long by two feet wide (Fig. 580). Make a laurel wreath of white paper leaves fastened on wire stems and tie at the bottom a bow of white ribbon. Sew or pin the wreath upon the black [Illustration: Portrait Medallion.] background, near enough to allow its inner leaves to lap over the white. Cut in the medallion, and through the background, a hole the shape of, but smaller than, the head and bust. This should be experimented with on other material before the medallion is cut, so that no mistake be made.

The medallion must be placed at a height easily reached by the standing figure of the person posing for the portrait. The head is thrust through the hole, then turned to present a profile view, while the shoulder is held back that it may not protrude too far through the opening. The illustration shows the effect of this tableau.

=An Egyptian Statue=

is an innovation in statuary tableaux which will receive a warm welcome, but, like the others, it must be well carried out to be a success. The figure and everything pertaining to it must be of one color, not white this time, but gray, all gray, to represent stone.

Study the pictures of old Egyptian statues; notice the costumes, and copy one carefully in gray canton flannel. Gray stockings must be worn and gray sandals, or the sandals may be omitted. Paint the face, arms, and neck with gray pastel, rubbing it on lavishly; this has been used without any harmful effect and is easily washed off with warm water and pure soap. Cover the hair with the typical Egyptian headdress (Fig. 581), made of a square of the gray material. Make [Illustration: Fig. 281.—Side View.] [Illustration: Fig. 281.—Front View.] a seat for the statue of a box which should be only wide enough to be comfortable and of a height to allow of a footstool under the feet. Nail a board the width of the box to the back to form a back for the seat and let it be high enough to extend a few inches above the statue’s head when she is seated. Cover the chair and footstool with the gray canton flannel.

The Egyptian statue must be stiff and formal, seated on her chair as in Fig. 581, with hands on knees and feet together. The entire absence of graceful curves of body or drapery makes a charming contrast to the other statues. In statuary tableaux the eyes must be kept closed, except in the tableau of Galatea, and the eyelids should be as white as the rest of the face. The eyelids of the Egyptian statue must, of course, be gray.

=Pygmalion and Galatea=

This tableau includes the sculptor as well as the statue, and requires a little acting on the part of the statue—herein lies the surprise.

The tableau illustrates the old story of the Greek sculptor Pygmalion, who fell in love with the statue he had made, and prayed to the gods to endow it with life. His [Illustration: First Position.] [Illustration: Second Position.] prayer is granted and the statue, Galatea, gradually awakens.

When the curtain is drawn aside, Pygmalion, dressed in Greek costume of brilliant colors (to contrast with the white statue), is seen kneeling with arms extended at the feet of Galatea, who stands in the pose shown in “first position” of the illustration.

Pygmalion maintains his position without moving while Galatea awakens.

Standing, as in “first position,” with bent head, closed eyes and clasped hands, the right foot a little in advance of the other, the weight of the body resting principally upon the left, Galatea slowly, very slowly, unclasps her hands and gradually separates them. The left hand moves out from her side while the right hand, at the same time, is lifted outward and upward to her throat, “second position.” Keeping the left arm extended a little from her side, the hand slightly raised and fingers bent, she continues to raise her right hand until it covers her eyes, at the same time swinging her body around, bearing the weight heavily on the left foot, until the “third position” is assumed. Holding [Illustration: Third Position.] [Illustration: Fourth Position.] this pose for an instant, she turns slowly back again, lifting her hand until it shades her eyes; she then raises her chin and bends slightly forward as she opens her eyes and beholds Pygmalion. This is the “fourth position.”

Again she pauses for an instant, then by slow degrees the left arm is raised while the right one is lowered and the hands are held out in welcome, as in the “fifth and last position.”

At no time must the arms form parallel lines; even at the last the extended arms should be bent very slightly outward at the elbows. The two sharp angles, formed by bending the elbows in the same direction at the same moment, should be especially avoided. At all times during the awakening Galatea must be so posed that her movements might, at any moment, be stopped and she would [Illustration: Fifth Position.] be found standing in a graceful and charming position. Success in this can only be obtained, and little awkwardnesses avoided, by practice before a large mirror, where every movement and every curve of the body may be seen.

No quick or sudden motion must mar the beautifully slow awakening; all should be as gradual as the unfolding of the petals of a rose until the climax is reached, where Galatea extends her arms to the waiting and expectant Pygmalion and the curtain is dropped.

There is no doubt of the success of the tableau when this little bit of silent acting is well done, and it makes an excellent winding-up piece to an evening’s entertainment.