Some Suggestions

There are certain general suggestions that the nonprofessional actor may well keep in mind.

Observation is the basis of all good make-up. If a young man wishes to make up as an old one, he can do no better than to study the faces of old men. He can notice how the beard grows, and where the lines come. He must also study himself, and see how the idea can be best expressed on his own face. He will probably see real people whom he would never dare to imitate, because a successful imitation would look too unreal. As in all the other departments of dramatic art, the selection of proper details is the basis of success.

Queer make-ups, involving black eyes, knocked-out teeth, and other such irregularities, should be used sparingly. They are very rarely necessary, and still more rarely truly comical.

If a number of amateurs are to be made up-say, a group of a hundred children for a pageant—a makeup team is a useful device. One person can be appointed to make eyebrows, another to rouge cheeks, and still a third to redden lips. The children can go from one to another, and a rapid and effective system can be worked out. In general, however, in a case of this sort make-up should be used sparingly, unless it is made necessary by glaring lights which would cause faces to appear white and ghastly. It is only under the glare of real stage lighting, or on the assumption of a true character, that make-up finds its place.

Finally, if strange make-ups are to be used, they

should be used until every one becomes familiar with them. A boy who is wearing a beard and an old man's make-up cannot be expected to act well if he is wearing it for the first time on the night of the performance. A good comedy make-up with which the other characters are not familiar may make them laugh during the performance. Boys wearing long wigs, as cavaliers, or boys playing women's parts, must have an opportunity to become at home in their make-up. In make-up, as in all other branches of dramatics, foresight and practice are necessary to success.

CHAPTER XII

PROPERTIES

Definition

The position of the property man and his assistants in the general play-producing organization has been previously discussed (see Chapter II, page 19), but so important are the properties, and those who provide and handle them, that further discussion is necessary. Properties are defined by dictionaries as "all the adjuncts of a play except the painted scenery and the costumes of the actors." Formerly, in periods that took their play production a little less scientifically than ours does, costumes, too, were included among the properties. And custom still includes some articles that might also be classified as costumes-such articles as canes, umbrellas, revolvers, swords, fans, letters, and so forth, that are used in the action of the play. Aside from these things, properties usually include furniture, pictures and ornaments, noise machines, "effects" such as snow or rain storms, and many other things that seem to fall to the property man merely because they are not the particular function of any other member of the producing force. The property man is, therefore, a busy and important person. It would seem fitting, perhaps, to give him a more imposing title, such as master (or mistress) of properties. In some organiza

tions he is called the property manager. Whatever his title, it can never adequately describe all the assorted duties that usually fall upon him and his assistants. A well-organized and competent property department is a necessary adjunct to play production.

Importance of Properties in Rehearsal

It is exceedingly important that properties be introduced into rehearsals as early as possible. Some person, either the property man or the director, or both, should read the play through and list all the properties that are to be needed. Reprints of old prompt-books usually contain lists of necessary articles. If the actual properties cannot be secured much before the performance, other articles may be used in rehearsal. A stick may thus serve for a cane, or an umbrella, or a fishing rod, or a gun, or any other such property. A piece of paper may be used for money, or a dish, or jewelry, or a hat. The important thing is that some physical property be used wherever one is called for. Otherwise, the nonprofessional actor is likely to forget, or to make some false move. Properties which are introduced at the last moment for the first time are sources of danger. In "The Bishop's Candlesticks,' the Bishop comes into his home, greets his family, and takes a seat at the table for supper. In one performance, the Bishop did all these things nonchalantly with his hat still on his head. Fortunately, the day was saved by the boy who played his sister; he had the presence of mind to go up to the Bishop, sitting quietly at supper in his home, remove his hat, and hang it on the

hook that had been provided for it. The audience, it is to be hoped, charged the ungentlemanly action to mere absent-mindedness on the part of the noble Bishop. Such occurrences are entirely unnecessary. The Bishop should have worn some sort of hat at every rehearsal, even if it had been only a paper hat.

Furniture

Furniture, in a play that is properly planned according to modern ideas, will be chosen by the artist who designs the scenery. Where furniture, rugs, pictures, and ornaments are selected from available material, it should be his duty to make the selection. The property man is thus relieved of this responsibility. Whenever the property man does find that he has to do the selecting, he should do it with a complete conception of the play in mind. He should know and follow the modern idea of the play as an artistic unity. The more he knows about the theory of stage design (Chapter X) and scenery (Chapter XI) the better his selections are likely to be.

Making Properties

Many times, the property man will find that he must make properties, and here manual skill will stand him in good stead. He may have to devise torches by fastening electric torchlights at the ends of sticks, and covering the bulbs with colored papers. Lanterns may be made of sheet tin, cut to proper shapes, and folded to inclose an electric torch or bulb. Stage "food" is often required. Bread, covered with hot water just