Part 120

Dircks arranged an oblong chamber in two equal portions, making the separation by means of one vertical screen of thin glass having a perfectly true surface. Suppose each chamber to measure 12 ft. square and 12 ft. high. Let one of these be the stage on which the acting is to take place; its floor and three of its walls are solid, and the fourth or front of it is one entire glass screen; the ceiling must be made to open at different parts to let in light, and have suitable blinds to regulate the light and shade in which the actors perform. The chamber opposite, or facing the actors, is in reality a second stage for carrying out the spectral performances, and is differently constructed; the two sides may be large folding or sliding doors, or may be left quite open, or one side closed and the other open; but the ceiling must cover only that half of the top away from the glass screen or partition, thus leaving an open space in the ceiling of 6 ft. by 12 ft.; through this space so left in the ceiling the spectators obtain a full view of the stage, their seats being above the half ceiling described, and thrown rather backwards than forwards; the line of vision thus being at an angle of about 45° with respect to the vertical glass screen, or plane unsilvered crystal mirror. It will now be obvious that the actor on the stage beneath the seats of the spectators can only be seen by reflection, and the trained actor on the opposite stage, knowing the precise situations of the reflection as seen by the spectators, performs accordingly, so that, when really seeming to stand confronting the vision, the actor, whose reflection is thus seen as a vision, is as far from the screen on one side as his reflection is cast on the other.

Some striking effects may be produced illustrative of the illusive properties of optical apparatus constructed on the principle described. Thus, _a figure placed before a white screen_ is so strongly reflected, that the spectator cannot divest his mind of their being the substance and not the shadow which he observes, particularly as he contrasts them with an adjacent solid figure. By placing _two figures of corresponding form_ equidistant, one on each side of the glass mirror or screen, they appear as one, until one is moved; and if they differ in colour, as one blue and one white, the effect seems more remarkable. If _a cabinet_, _box_, _or the like_, is placed, one on each side of the mirror, until the image of one exactly corresponds with the material figure of the other, then the spectator may see the visionary figure open a drawer or door, and remove and replace anything therein, and afterwards the solid figure repeat the same acts. If the reflection of an actor is thrown on a transparent screen it is invisible, but by gradually decreasing the light the spectral appearance will be as gradually developed until apparently it becomes a firm solid figure in all its proper costume, and acting in perfect conformity to its designed character.

The arrangement of the apparatus will be understood by reference to Figs. 101-104, in which--

Fig. 101 is an external perspective view, Fig. 102 a vertical section, Fig. 103 a top, or bird’s-eye view, and Fig. 104 a plan. A, B, C, D, E is a box, closed on all sides, but provided at D with a door F, and on the other side with another door G, both hinged to the back A, D. H, I, J are flapped openings on the top of the box; K, K a partition dividing the interior of the box, made of a good, clear, and even surface of thin patent plate-glass, kept in its place within two side grooves; L, M, two separate chambers or compartments produced by K, K, the transparent mirror; N, a ceiling or screen over the compartment L, to exclude any object therein from the direct view of the spectator, as shown by the dotted line, _a, b_.

If two figures be now introduced, one Y, the other Z, and the eye of the spectator be fixed at A, he will observe two images, one the real figure Z, the other Y’, the mere reflection of Y. By this arrangement it is evident that the plain, unsilvered glass, thus viewed at an angle of about 45° has all the properties of a mirror, but owing to its transparency two figures are seen, possessing little or no distinguishable difference between them. Of course a person placed at Z sees only the figure Y, but, as a piece of acting may, under proper arrangements of a suitable stage, approach the situation apparently occupied by Y’, and thus indicate to a spectator placed at A any pre-arranged dramatic scene requiring Z to be in correspondence with the visionary figure Y’.

In using the apparatus the flap H must be open, but I may be shut, being mostly useful to get admission for inserting or withdrawing the screen or the figures; the flap J may be closed or opened to regulate the admission or exclusion of light. The doors F, G may both be wide open, though one is generally sufficient, provided it is turned as direct as possible to the light. A mirror placed at an angle close to the opening F or G, will assist the illusion by illuminating the figure Y, thus heightening the effect of the reflection Y’.

If two geometrically proportionate figures, as spheres, cubes, or the like, be placed in the situations Y, Y’, then the image at Y’ will be a vision and a substance combined, as will at once appear by slightly moving the substantial body in either compartment L or M. Let the duplicate figure be a box, and then the spectator might observe the apparent anomaly of the same box being opened and a substance taken from it and replaced either by a substantial or visionary actor. When the compartment M is lighted up no vision appears, but the light being made gradually to fade and disappear, the vision would seem lifelike, as at first. As it is evident that the right hand of the vision is the left hand of the actor in the compartment L, all his acts requiring the right would have to be performed with the left hand, to appear natural to the spectator. It is also requisite for insuring a good effect, that no solid figure in the compartment M shall come before or behind the visionary image, as its transparency would at once become evident; but if anything of the kind is desired, then the background, figure, or object, should be placed behind the actor Y, and become with him also visionary; in this way _a white screen_ placed behind the actor Y will allow his shadow to appear on it and give great force and solidity to his reflected figure or vision at Y’.

A few examples will better illustrate than any elaborate description, the singular effects that may, in different ways, be adopted for realising spectral dramas.

1.--DICKENS’S HAUNTED MAN.

A student is seen sitting at a table spread over with books, papers, and instruments. After a while he rises and _walks about_ the chamber. In this there is nothing remarkable. But the audience is perplexed by a different circumstance: they not only see a man rise from his seat and see him walking about, but they also see that _he still sits immovably in his chair_--so that evidently there are two persons instead of one, for, although alike in dress, stature, and person, their actions are different. They cross and recross; they alternately take the same seat; while one reads the other is perhaps walking; and yet they appear very sullen and sulky, for they take no notice of each other, until one, after pushing down a pile of books, passes off by walking through the furniture and walls.

The art in this arrangement is to have two actors sufficiently alike in person, similarly dressed, and placed so that the phantom figure sits so exactly like the living figure as to match into it. It consists in having two actors, two chairs, and two tables exactly matching each other. On the acting stage, the actor, table, and chair have each their duplicate; so that, if they were pulled a little to one side, the audience would see two actors, two tables, and two chairs. But such an exhibition would be a defect, as the table and chair are mere guides for the spectre actor: if there were no chair he could not sit, and if no table he could not appear as leaning upon one, or seem to do so.

In this and other pieces of a like nature, it is presumed that the parts are not performed in dumb show, but that an able speaker either explains and gives the dialogue, or that concealed actors address the audience, timing their speech to the action before them.

2.--THE RETURNED MARINER.

A naval officer or other seafaring character, belonging to some particular vessel reported to have been wrecked, is seen in a chamber, into which his wife or sister, &c., on entering rushes forward to embrace him, but, clasping nothing, immediately falls down in a swoon.

3.--THE CALIFORNIAN GAMBLERS, OR ROBBERS.

Two men, dressed almost like brigands, engage to play some game with cards or dice. They sit one on each side of a table, on which they place their revolvers. After a short play they dispute and wrangle, during which, one seizing his pistol discharges it at the other. He is horror-stricken by the bullet being returned to him, and his playmate passing away by neither window nor door.

4.--THE MISER AND MONEY-LENDER.

He is an aged man, counting his money, and writing up his unjust gains. His room is furnished with bookshelves and cabinets. With a small taper before him, he is absorbed in monetary calculations. Presently a careworn female enters. He shudders--with cold. She opens a cabinet, takes out a long roll of parchment, replaces it, and closes the door again--not quietly, but with a clap like thunder. The miser is colder than ever--shivers more and more, and rises to look into his cabinet, from which he apparently takes the _same_ roll, replaces it, and returns to his seat, followed by the reappearing phantom, which again rapidly disappears.

This requires a duplicate cabinet, parchment, &c.

5.--A STRANGE CHRISTMAS-BOX.

A porter enters the sitting-room of a bachelor while at breakfast. He lays down a deal box, is paid for it, and retires. It is a present--and after being turned over and over, hammered a good deal to burst it open, and seemingly as hard to open as an oyster would be with a pair of scissors; the cord off, the nails out, and all ready for inspection, the bachelor is suddenly called to any little attention, as the over-boiling of his kettle. He has but turned his back a moment, and behold--a cupid sits on his box! On his approach it walks round to his breakfast table. He removes the box lid and finds it crammed full of old clothes returned to him from his last residence. He is very angry, takes a seat, and is rather startled to see the box lid open, cupid get into it, and at the risk of the pretty boy being smothered, down goes the lid again. He reopens the box, taking from it cloaks, coats, boots, pipes, &c. But, where is cupid?

The box has its duplicate, and the appointed place marked out for each. The box seen by the spectators, however tossed and carelessly used, is very carefully placed _at last_ in one precise spot, where it matches an opposite empty box, large enough for a child trained to perform the part. The lid supposed to open does not open, but by rapid action the eye is so easily deceived as not to observe the duplicate lid.

6.--THE DUEL.

It is to be fought with swords. After various passes, one is stabbed, but instead of falling, he either holds his sword behind him, as if in support, or elevates it, as if appealing to the justice of his cause; but in an instant, to the horror of his affrighted antagonist, he rushes on him with a blazing sword.

The sword is a suitable flat perforated gas tube, with a vulcanised gas tube attached to the handle. A small gas jet above, or an assistant below, enables the actor instantly to produce the desired result.

This example is curious, as showing with what nicety the required effect can be obtained, so as actually to bring the two blades opposite and crossing each other, when the space intervening may be 20 feet or more. It is easily done by stretching a cord or wire, or having movable metal or wood rods held upright by a solid base, placed equidistant on both stages; for it can readily be ascertained where to place them, so that a sword blade crossing a wire on one side is absolutely seen crossing the same on the other side.

7.--THE MILLINER BEWITCHED.

A dressmaker and assistants are in a work-room containing a number of empty props, each with a kind of wire-shaped body for displaying dresses upon. She scarcely turns round to her work before every pole has upon it white, black, red, and other dresses, to her evident consternation. Calling in a friend, they are again empty; so, settling down, she is once more terrified by a total change of millinery in cloaks, shawls, bonnets, &c. All this is brought about by employing corresponding wired props.

8.--THE GIPSY’S PROMISE.

A plain country servant-girl in a white under-dress stands at her glass, and, having had her fortune told, is ardently wishing to be a fine lady. As she retires from the glass in her mistress’s room, she is all amazement to find herself suddenly transformed to a princess. She is attired in a splendid pink or other silk dress, and wears a turban with ostrich feathers; but before she can show herself off to her friends the whole proves a vision!

The arrangement is like the former, only requiring more care and management.

9.--A HAND SEEN WRITING.

The spectre hand may actually write or gradually withdraw a slide over the letters. Either way is very surprising. The actor is behind a black curtain, his hand only seen by reflection. There are corresponding boards, that on the acting stage being black _without_ any writing. If the board has a piece inserted in it like a valve, working on centres, the written words or name can thereby be turned out of sight with sufficient rapidity.

10.--THE OTRANTO PICTURE, OR LIVING PORTRAIT.

A scene from the “Castle of Otranto” may be imitated, representing the full-length figure in a painting stepping from the canvas into the picture gallery.

The picture and frame are a phantasm; the figure being represented by a living actor, or _vice versâ_. He walks from the frame to the floor; and on returning reassumes the still attitude of painted portraiture.

11.--WONDERFUL JUGGLERS.

No end of scenes might be brought out under this title, by employing very little and exceedingly simple mechanical appliances; as,--_Swallowing_ any length of rope, chain, or other material. To be effected by passing a long endless band of the same over pulleys on the real stage, so as to appear entering the mouth of a visionary actor, keeping his head fixed and mouth wide open at one fixed point.

Strong and weak bandboxes--on which an actor is seen standing, but which when another actor attempts he falls through, crushing the whole to the floor. The first actor was a mere spectre, standing on strong duplicate boxes, which being removed, the other actor has nothing but the actual weak bandboxes to sustain his weight, which he therefore crushes flat with the floor.

The handing of flowers, miniatures, letters, or any article, by the spectre to the real actor, is so easy as scarcely to require explanation. There must be two of any article to be so used, one _behind_ a small black screen on the acting stage, and the duplicate _before_ a like screen on the other stage. While the actor appears holding the phantom letter, he in reality has taken hold of its duplicate _behind_ the screen, only producing it the instant the other (or first seen letter) vanishes.

12.--THE WIZARD’S INCANTATION.

An aged wizard in a den-like habitation, standing within the magic circle, and with a boiling caldron before him, attended by certain spirit-seekers, is endeavouring to raise the spectre of some departed relative. In due form the phantom does appear amidst the vapours of the caldron.

The caldron has its duplicate, and is in fact the entrance for a trap door on the opposite stage, through which an actor is mechanically raised, appearing to the audience as the spectre, for he would be seen gradually fading away, first becoming transparent and next slowly invisible.

13.--THE GREENROOM RIOT.

A male and female actor are seen vigorously throwing at each other the masks, dresses, boxes, and other furniture of the greenroom, with the absurd effect of never being once incommoded by the hats, cloaks, coats, and dresses littered about.

Of course each is throwing at nothing, and the audience is amused by the mixture of the real and the reflected actions.

14.--A SPIRIT-RAPPING SÉANCE.

A company of this sect being assembled, rapping is heard, hands and heads seen, flowers distributed, and a spirit dimly rises, but just as the circle is about to depart the table with its books, lights, &c., turns rapidly round to their great delight.

The table is visionary, and suspended for the purpose.

15.--WILL-O’-THE-WISP.

This ignis fatuus may be represented by a young slender actress in a white gauze dress, holding in her hand a small neatly-made paper lantern. A misguided traveller is seen groping his way along a treacherous heath to trace the whereabouts of the fascinating vision, which at last vanishes, all but the dimly lighted lantern, which last of all dies out, and the actor appears emerging from a quagmire.

The small lighted lantern is seen longest, owing to its own illumination, while its smallness allows its being easily extinguished.

16.--SPECTRE WORKMAN.

Two men appear to be working a pump, one on each side, like some ships’ pumps, or fire-engines, but presently quarrel and fight. The mechanism is connected with an underground shaft, so that opposite actors cannot fail to rise and fall simultaneously in the requisite motions; and all the rest is a mere piece of acting.

17.--THE DRUNKARD’S DREAM.

A drunkard is supposed to have ruined himself and family, and hastened the death of his wife and children for want of proper sustenance. He is seen lying on a couch, surrounded by visions of his deceased partner and children. He wakes disturbed as they disappear. Again retiring to rest they surround him once more, each bringing him large goblets of his loved beverage, which he attempts to seize, falls on the floor, and awakens in a state of violent horror and passion.

18.--CLOWN AND FAIRIES.

A tree is seen rising from a green and flowery mound, on which sits a country clown half asleep, with his basket, bottle, and broken victuals before him. Presently a dozen or more fairies forming a ring dance around the tree, to the great delight of the rustic, who, rubbing his eyes, attempts to join the merry dancers, who as speedily flash out of sight.

The mound and trunk of the tree have their duplicate, otherwise the dancers would not be hid in passing behind it, and would therefore appear shadowy and unnatural.

19.--THE BLACK GHOST.

This effect is produced by the actor being first dressed in as white a dress as possible, and then covered with a cowl and flowing black gown; so that sometimes only the head is seen, at others only the hand or hands, and occasionally only a foot, or both feet. Or he may be dressed as usual, in black velvet, wearing a black mask, becoming observable only whenever he passes before a white screen.

20.--THE SPECTRE DOG.

A well-trained Newfoundland or other dog may appear to cross the stage as if passing through the furniture, and while jumping towards his master behind a screen, may appear by reflection as though attacking the real actor on the stage.

21.--THE HAUNTED HUT, OR WITCH’S LAUNDRY.

The witch, appropriately dressed, in a low cottage chamber, may be seen with some fantastically dressed young female preparing to wash clothes. They arrange a large tub, fill it with buckets of hot water (judging from the white vapour), and put in quantities of linen. Each takes a turn at washing, raising their work into the air, in the operation. But presently the girl retires, and on returning, is seen taking quantities of all kinds of boots, shoes, hats, cats, dogs, and children out of the washing tub, finishing by throwing the wet linen into the witch’s face, who becomes excessively aggravated.

This pantomime may be carried to any length. It is effected by commencing with two real actors on the stage, and then one of them leaving to commence a series of phantom actions, the audience never suspecting so odd a change.

22.--TEMPTATIONS OF ST. ANTHONY.

St. Anthony may be seen in his cell surrounded by all manner of imps. By having a duplicate seat, a number of youthful actors in pantomime masks and dresses can easily play the phantom part, climbing the arms and back of the chair, and gambolling at its feet, or upon and around a duplicate stand or table.

23.--METAMORPHOSES.

These may be carried to a great extent; nothing that poets have imagined appearing too difficult, not even the change of the human form to the trunks of trees.

An actress, dressed in a brown or green dress, on taking a certain assigned place and position, with upraised arms and outstretched fingers, would appear gradually to become like the young oak or elm, with but slight indications indeed of humanity, until disenchanted.

Here the only phantom would be that of the trunk and branches of a tree, either natural or artificially arranged to correspond with the body and upraised arms and fingers of the actress.

Changes from age to youth, male to female, friend to foe, and so on, may be achieved by the phantom actor stepping on a small turning portion of the stage, like a double sentry box, of which one half turn does the magic business, being occupied by two actors.

24.--TRIAL BY FIRE.

Men in Gothic costume may be seen at an altar, on which wood is burning. The accused has to test his innocence by a fiery ordeal; for which purpose the priest advances, declares the crimes, and promises clearance from guilt should the accused come off scatheless. He is seen as if washing his hands in the blaze, and burning drops falling from his clasped hands.

The duplicate altar has upon it a metal dish of inflamed alcohol, with a sponge dipped in it, which at the moment of clasping the hands, is raised and pressed by iron tongs, from which the dropping spirits take fire.

25.--ANY LEGENDARY SAINT’S MARTYRDOM.

Anything of this kind would be too terrible for the stage, but the principle on which it is conducted may be applied in different ways, this being but one out of many striking examples.

The stake and faggots are in duplicate. The duplicate stake and faggots are employed alone for arranging among them gas pipes, and in suitable metal dishes, either spirits, or thin paper, or both, to produce varieties of fiery effect. On the acting stage the martyr would appear surrounded by the terrors of the reality of such a frightful doom.

26.--EXECUTIONS BY AXE OR GUILLOTINE.

The descent of the instrument of execution is followed by the rising up or falling down of a black screen, effectively to hide the head, of which there must be a duplicate in waxwork. The executioner only is a real actor, and he only has access to the head. When his axe falls, all the rest takes place on the phantom stage; therefore the axe literally descends upon and adheres to the very block on which the audience saw the culprit place his neck.

Such an exhibition would be anything but desirable; at the same time the _modus operandi_ is capable of happier applications, and therefore is only introduced on account of its impressive character, the Author having no desire to encourage the too prevalent vitiated taste for horrors.

27.--THE NIGHTMARE.