Chapter XXIV: Scenery, Properties, and Mechanical Effects

Scenery for a miniature theatre will be made in much the same manner as the small drops and wings a scenic artist prepares of each scene of a play, before he commences work upon the large canvasses. Any handy boy will find it an easy matter to prepare his scenery, as it does not require a knowledge of drawing so much as it does the knack of copying scenes from pictures, and the proper placing of the various wings and drops. Several simple suggestions for water, field, street, and interior scenes, with sketches of the drops and wings necessary to complete them, have been placed on the following pages of this chapter with a view to helping you with your first attempts at making scenery. By the time you have made some of these you will have had enough practice in the work to devise other designs and work up the details more elaborately. With a little shifting of drops and wings, or substituting one for another, the appearance of the scene can be sufficiently changed to make it as good as an entirely new setting. Several examples of this will be found among the illustrations.

=For materials=, you will require some large pieces of paper, several sheets of cardboard, a box of colored chalks, a pair of shears, and a pot of paste--add to this a bunch of laths with which to make the frames, and some nails, screws, and tacks for fastenings. The back of wall-paper presents an excellent surface for chalks, and several rolls will cost you but a few cents, as you can purchase old-style patterns. Suit and shoe boxes will furnish the necessary cardboard.

The size and proportion of the scenery will depend entirely upon those of the proscenium, and as these are governed by the size of the picture frame you procure, no attempt will be made to give you the dimensions of wings and drops; but you will get a good idea as to their proper proportion from the illustrations shown of the scenes set up, as the line of the proscenium opening is dotted upon them. In the full-page illustration of the completed theatre preceding Chapter XXIII is shown

=An Ocean Scene= in which the entire depth of the stage is used for the setting. Here you will notice the drops have been made to extend beyond the sides and top of the proscenium opening, a thing which is necessary in order that those of your audience sitting close to the front of the theatre, or to one side of the centre of the stage, will not be able to see through the openings between the drops and wings. Figure 325 shows how the four drops necessary for this scene should be made. First sketch drop _A_, shading the clouds and waves with colored chalks as shown in the drawing of the completed theatre. Then cut out the opening in its centre, carefully following the outlines of the clouds. Lay this sheet upon another and mark out drop _B_, with a smaller opening in its centre, and then, after coloring and cutting it out in the same manner as you did drop _A_, lay it upon a third sheet and mark out drop _C_, with a still smaller opening in its centre (see Fig. 325). Drop _D_ forms the background of the scene, and should be made as shown in Fig. 326, with a horizontal line separating the sky and water. With the exception of a few white caps in the foreground, no waves should be shown upon this drop.

If wall-paper is used for the scenery, several widths will have to be pasted together for each drop.

=Additional waves= should be made out of strips of paper and fastened together as shown in Fig. 327, with the crests of the waves of each strip extending a little above those of the strip in front. Prepare three sets of the waves, and, after pasting one to the bottom of each drop, bend out the crests so as to leave a little space between each strip.

These drops should now be tacked to frames made out of laths similar to Fig. 328, with the corners nailed and braced with diagonal strips. Place a couple of tacks in the top of these frames, and to these attach cords. The drops should now be hung by means of the cords to the tacks in the top strips of the stage framework. Space them about as shown in the illustration of the completed theatre, and so adjust the lengths of the cords that, from a point equal to where the centre of your audience will be located, the horizon lines of your drops will appear on a line with one another. Then having found the proper lengths of the cords, make loops in them so the drops can be quickly hung in place without further adjustment.

In the foreground of the ocean scene a stone wall has been shown, which should be made upon a strip of cardboard, with the joints of the stones marked off with gray paint. This strip should be set against the bottom of the front drop. To change this setting into

=A Mid-ocean Scene=, it is only necessary to substitute a strip of waves similar to Fig. 327 in place of the stone wall; and

=A Seashore Scene= can be had by making a strip of rocks similar to Fig. 329 to set against the front drop, and covering the foreground with sand to form the beach.

=A Field Scene= should be set up as shown in Fig. 330. Make the background drop _G_ similar to Fig. 331, tacking it to a frame as you did the drops of the ocean scene, and prepare the foreground drop _H_ similar to Fig. 332, tacking its upper edge to a single lath from which it can be hung in position. Draw the leaves upon drop _H_ about as shown in the illustration, and in cutting out the strip make a few openings between the leaves as shown in the drawing. Wings _I_ and _J_ are shown in Figs. 333 and 334. These should be drawn upon cardboard, and then cut out with a sharp knife, with openings made in places between the leaves and branches.

Tack the bottom of

=The Trees= to small blocks of wood for standards (see Fig. 336), and drive brads through the blocks so they will stick into the stage floor and prevent the trees from toppling over. In setting up this scene, as in the case of all others, you will have to shift the pieces until all entrances and exits are hidden by the wings. The places can then be marked upon the stage floor. This scene will occupy but the front part of the stage. If a greater depth is desired, it will be necessary to prepare additional wings, which can be made similar to Figs. 333 and 334, with possibly a few changes in the form of the branches and leaves. Figure 335 shows a tree that can be used for the centre of a scene. A little earth scattered over the stage floor will give the appearance of ground.

By using the same background drop, _G_, and the foreground drop, _H_ (Figs. 331 and 332), trees, _J_ and _K_ (Figs. 334 and 335), and making a blockhouse and stockade similar to _L_ (Fig. 337), you will have the proper setting for

=A Blockhouse Scene=, such as is shown in Fig 338. The blockhouse should be fastened to a strip of wood in the same manner as you fastened the ends of the trees (see Fig. 336).

For outdoor scenery, and especially forest scenes, the writer remembers using

=Pine Boughs= for trees and shrubbery. These were cut into pieces of the right length for trees, with their ends pointed so they would stick into gimlet holes made in the laths of the stage floor; and loose pieces were thrown in between for shrubbery. Mounds and hills were made with moss. This saved the work of making so many drops, and, of course, looked a little more realistic than paper scenery, but was not as handy to set up, and caused longer delays between the scenes.

=Rustic Bridges= can easily be constructed with a few twigs, as can also rustic seats and fences. A very realistic

=Pond or Lake= can be represented by placing a piece of a mirror upon the stage floor, and banking sand or moss around its edge.

Figure 339 shows a simple setting for

=A Street Scene=.--The background will be made similar to Fig. 340, and the wings _N_ and _O_ as shown in Figs. 341 and 342, while drop _H_ and wing _K_ are the same as used for the other scenes (see Figs. 332 and 335). Wing _O_, the house upon the right of the stage, will be made in one piece, with window openings cut in it and covered with tissue-paper ruled to represent the window-sash (see Fig. 341). Show the trim around the openings and also the siding upon the building. Then fasten the back of the wing to a standard such as used for the trees (see Fig. 336). Wing _N_, or building upon the left of the stage, will require a number of pieces of cardboard to show its perspective correctly. Make the front of the building as shown in Fig. 342. Then fasten a piece of cardboard to edge _A_ for the side, three pieces at _B_, _C_, and _D_ for the roof, and a strip across the front at _E_ for the porch roof. The pieces can be fastened together best with strips of linen glued to their inside surfaces. The porch roof will be supported upon four posts made out of strips of cardboard as shown in Fig. 339. This building will be the village post-office, grocery, and hardware store combined, and should have a number of signs to this effect painted upon the front.

To the several outdoor scenes already described, you should add a setting of

=An Interior=, as you will probably have occasion to use one in any play you produce in your miniature theatre. Figure 343 shows a simple interior, the size of which will, of course, depend upon that of the stage. However, it should not be very deep. Figure 344 shows the pattern by which to cut the five pieces of cardboard, of which the walls are made. The edges of these pieces should be glued together with strips of linen. Cut the door openings at _F_, _G_, and _H_, two window openings at _I_ and _J_, and slots in the tops of _B_ and _D_ at _K_, _L_, _M_, _N_, _O_, and _P_, as shown in the drawing. Make the doors out of pieces of cardboard, hinging them to the openings with linen strips, and draw the window-sash and their divisions upon tissue-paper and paste them over the openings _I_ and _J_. Oil the paper if it is not very transparent, so the audience can see the villain when he passes by the windows. Make a wainscoting around the walls to the height of the window-sills, ruling the boards with a lead pencil, and draw a line across wall _C_ a little below the bottom of slots _M_ and _N_ in walls _B_ and _D_, as shown. If you have used white cardboard for the walls, and not injured its calendered surface when cutting the openings, it will have a good plaster appearance. Otherwise, cover the cardboard with white or tinted paper. Paint the wainscoting and the door and window trimmings brown. To set up the room, bend the walls into the shape shown in Fig. 343. Then cut three strips of cardboard several inches longer than the width of the room and slip them into the slots you have cut in the tops of the walls _B_ and _D_ (see _Q_, _R_, and _S_, Fig. 343). _T_ is a drop like _S_, but is suspended in front from the gridiron. These strips form the ceiling of the room, and generally have beams or mouldings painted across their bottom edges, but it will simplify matters to leave them plain, as shown in the illustration. The line which you have drawn across the rear wall corresponds with these strips. Cut a number of illustrations from a magazine for pictures, and either hang them upon the walls or paste them to the cardboard. Doll furnishings can be used to complete the scene.

There are a great variety of subjects upon which a boy can base his plays, but what probably will make the most interesting programme and one of the simplest to prepare is

=A War Drama=.--In this you can picture a number of battles after the descriptions you have read in your history, or dramatize one of your favorite war stories, bringing its young heroes before the footlights. This class of plays will give you an opportunity to use

=Paper Soldiers= for actors. Probably you have a supply of these, but if not, you can get them at any toy store. They come upon printed sheets ready to be cut out, and as they cost only a penny a sheet it pays to buy rather than make them.

Cavalry and infantry of about every nationality, Indians in various positions upon horseback and on foot, and a large assortment of American soldiers in marching order and fighting array are now to be found in these sheets. For

=Marching Soldiers= across the stage, tack their feet to a lath as shown in Fig. 345, and then slide the lath across the stage, at the same time pushing out one of the laths forming the floor. The moving of the laths scarcely will be noticeable from the position of your audience.

=Separate Standards= for soldiers you wish to set about the stage should have small strips of cardboard glued to their backs and bent out in the same manner as easel-backs are made. At least four or five of the soldiers should be jointed so they can walk about the stage and appear perhaps a little more graceful in their actions than their stiff-jointed comrades who are fastened to laths. Figure 346 shows

=A Jointed Figure= made out of a paper soldier. Suppose you have a soldier in some such position as shown in Fig. 347. First cut off the legs along the dotted lines shown in the illustration, each leg in two pieces (see _A_, _B_, _C_, and _D_, Figs. 347 and 348). Remove also the hand projecting beyond the body at _E_. A small piece of cardboard of the same thickness as that upon which the soldiers are printed should be glued to the back of _C_ and _D_ where those pieces were cut into in cutting off the legs (see _F_, _G_, and _H_, Fig. 348). When this has been done, pivot _A_ and _B_ to _C_ and _D_ at _F_ and _G_, and then pivot the ends of _C_ and _D_ at _H_ and _I_ to the hips of the soldier (see Fig. 346). Thread should be used for pivoting these pieces together, with knots tied on either end. New arms will have to be made, as those printed upon the body cannot be cut out. These are made in two pieces similar to _J_ and _K_ in Fig. 348. You will find it a simple thing to make them and paint the hands flesh color and the sleeves to match the rest of the clothes. Pivot _J_ to _K_ at _L_ and the end of _K_ to the shoulder at _M_. The arm printed upon the side of the figure should now be painted so as to blend with the color of the coat. The white cardboard glued to the joints should also be painted to correspond with the rest of the body. You will find this method of making a jointed soldier much easier than to attempt to draw, paint, and cut out one of your own design. Figures in other positions can, of course, be jointed in the same manner.

The movements of a jointed figure are controlled with pieces of silk-thread attached to the hands, feet, and head, as shown in Fig. 346. These threads should be carried through the top of the stage framework and loops made in their ends should slip over the fingers of your hands, in which position they can be operated. It will take a little practice beforehand to enable you to work the threads successfully, so you will not be responsible for such laughable performances as making him dance while delivering a farewell address, or leave the scene through the top of the stage during an exciting portion of the play.

In an interior scene, such as Fig. 343, the jointed figures will have to make their entrées and exits through the passages between the front walls and the proscenium, as the operating cords would interfere with them going through the other openings. The figures which pass through the doors will have to be tacked to the floor laths and shoved across the stage.

All the small movable furnishings of a scene are known as

=Stage Properties=.--These include such pieces as furniture, boats, carts, and trains.

FIG. 349.

A Tent.]

=Tents= will be necessary properties for an encampment scene. These should be cut out of white paper the pattern of Fig. 349, then folded along the dotted lines, and edge _B_ pasted over the flap _A_. The front flaps will be left open. Figure 350 shows the tent set up.

=An Indian Teepee= will also be required for Indian warfare. Follow the pattern shown in Fig. 351, marking it off as though it were made up of a number of skins, and place a few figures of decoration upon it. Then cut three or four short sticks and, after crossing their ends as shown in Fig. 352, fasten the paper covering over them, bending flap _A_ along the dotted line, and pasting _B_ over it.

FIG. 352.

A Teepee.]

The field scene (Fig. 330) and the blockhouse scene (Fig. 338) will be used for the settings of your battle-fields. For your miniature sea-fights, the mid-ocean scene will be used.

=Battleships= should be made out of cardboard as shown in Fig. 353, with the masts reënforced at the back with strips of wood, and the rigging made with heavy thread. It will be well to have a number of pictures from which to work in drawing and painting the various ships of your fleet. The hull of each ship should be curved as shown in the illustration, and mounted upon a cardboard rocker. Make a number of slashes along the curved edge of the hull, and bend out the little flaps alternately, first to one side and then to the other (see _A_ in drawing), after which glue them to the rocker. Attach a cord at _B_, with which to pull the ship across the stage, and another cord at _C_, with which to guide the stern. The hull will, of course, run between the strips of waves, so as to be half concealed by them. A person cannot imagine how realistic these little battleships appear when tossing about upon the toy waves, without having seen them in operation.

=Trains and Wagons= can be cut out of cardboard and moved across the stage by means of laths to which they have been attached in the same manner as the paper soldiers shown in Fig. 345. Toy wagons, carriages, and an automobile such as described in Chapter XXVI, may also be used in some scenes.

Rain, wind, thunder, and such stage sounds, a moon or sun-rise, and lightning, as produced on the stage, are known as

=Mechanical Effects=.--Most of these can easily be adapted to your theatre, though the apparatus need not be as elaborate as that used by professionals.

=Thunder= can be produced by means of a large piece of heavy cardboard held by one corner, as shown in the chapter heading, and vibrated back and forth. The beating of

=Rain= upon the outside of a house is imitated with a small quantity of dried peas or beans dropped upon the head of a drum or into a cardboard box. Every time the door is opened during such a storm, the audience should hear the whistling of the

=Wind=, which is imitated by a few low drawn-out whistles. The stage must, of course, be dark for producing

=Lightning=, in order to get the best effects. The flashes can be made by igniting a small amount of flash-light powder, placed in a tin can cover.

=The Roar of Cannon= and firing of smaller guns can be imitated to good effect upon a drum.