CHAPTER IX SCENERY Definition Scenery, in a strict sense, is the background before which the play is performed. It consists merely of the painted cloths, or the hangings, that enclose the stage. The nonprofessional designer will, however, be greatly aided if he will bear in mind a broader definition, and conceive scenery to be the place in which the action is occurring. The term will then include furniture, rugs, pictures, tapestries, and all the other possible elements that may aid in giving character to the place. A table and two chairs, carefully chosen or artistically designed, may do more to "set the scene" successfully, than all the painted cloths or hangings in the world. Necessity for Appropriateness The problem is to produce a place that will aid and reënforce the action that is to occur there. The scenery must have a tone, must give a feeling appropriate to the play. All its elements must be designed to aid in the production of the proper tone. And the two most important elements, as pointed out in the preceding chapter, are color and line. A light and amusing Columbine play may demand cool colors and fantastic lines; a somber tragedy would be inconceivable in such a setting. The tragedy may require a dark background, and long straight serious lines, with a dash of warm color here and there to suggest the passion that is to be loosed in the scene. The overwhelming passion of Wilde's "Salome," the robust vigor of France's "The Man Who Married a Dumb Wife," the delicate irony of Millay's "Aria da Capo"-each of these demands an individualized setting. "Stylization" This attempt to catch the spirit of the play, and to express it in the setting-and also in the costumes, and lighting, and manner of acting-is what is called, perhaps unfortunately, "stylizing" the play. A stylized play, then, is one in which the director, or the artist, has attempted to bring out the central ideal by unifying his designing about certain conceptions. For example, in producing Beaumont and Fletcher's "Knight of the Burning Pestle," the artist should perceive that the authors have written a burlesque, and he should emphasize and be guided by this spirit to make all the elements in his design slightly grotesque. If he is to use a modified Elizabethan staging, as was done in one performance (see illustrations facing page 108), even the Elizabethan stage that he designs must yield to this spirit. Instead of the browns and creams that would probably predominate in an exact reproduction of an Elizabethan theater, he may use as basic colors a fantastic purple and green, making the general color of his flats a varied purple, and the woodwork of his doors and windows a pale green. The grotesque shapes of the shingles on the roof, the slant given to all the doors, the irregularity of the windowpanes, all these lines are in the same burlesque spirit. The costumes, too, should be exaggerated. The ruffs, the characteristic part of the Elizabethan costume, may be unusually large. They may be made in unusual shapes, and so may the hats and shoes. The colors of the costumes should be even brighter and gayer than they were in the period. And, the acting, too, must partake of this joyous exaggeration. Stylization may, of course, be carried too far; but the nonprofessional designer will find the idea of great benefit. In thinking of the setting, he must attempt to produce a place that calls for exactly the sort of action that is to occur. He may keep in mind Stevenson's remark that "Certain dank gardens cry aloud. for murder; certain old houses demand to be haunted; certain coasts are set apart for shipwreck." A successful setting should give the audience the proper feeling, and should aid in giving that unity of effect which is essential to any work of art. Classification of Scenery Scenery may be roughly divided into two main classes: (1) draperies of unpainted materials, which are left their natural colors or dyed in solid colors; and (2) painted scenery of the more or less traditional type. Many amateur organizations, especially in schools, use draperies almost exclusively, under the impression that painted scenery is impossible for them. This is a mistake. Audiences grow tired at seeing the same set of draperies for play after play. Painted scenery, that may be remade and repainted for different performances, is much more satisfactory; and if properly planned and executed, it is by no means excessively expensive. Professionals use painted scenery, for the most part, because of its great superiority to any other device yet discovered, and nonprofessional groups may well follow this lead. There are times, of course, when draperies may be used, and occasionally they are capable of giving exactly the effect desired. The completely equipped theater might well, therefore, possess one or two sets. DRAPERIES Materials for Draperies Draperies may be made of velours, flannel, monks' cloth, hessian, denim, burlap, cotton velvet, poplin, or almost any material dictated by taste or price. With two sets of draperies, one a good light gray and the other a black, almost any play may be set. With proper lighting excellent effects may be secured. Even outdoor scenes have been successfully achieved, notably perhaps at the Neighborhood Playhouse of New York City. Methods of Hanging Wires may be used on which to hang the curtains, and they may be stretched from wall to wall and tightened with turnbuckle as already described for the pro |