Fall, little leaflets, fall, (12) For the leaves till the Spring-winds call; (14) You must carpet the waiting earth, (15) So fall, little leaflets, fall. (12) (1) Look upward, raise both arms and swing hands in circles from wrist. (2) Float both hands down to shoulder level, turn palms up and look from one part of sky to other. (3) Raise arms as in (1) and swing hands slowly from side to side with wrist movement. (4) Drop arms to sides, and slowly close eyes. (5) Drop head forward. (6) Raise arms and swing the hands up and down from wrist. (7) Point to right. (8) Point upward. (9) Point down to ground. (10) Point upward with both hands looking from one side to other. (11) Lower hands to mid line, turn palms up, and continue looking up at trees. (12) Raise arms and float gently downward, moving slightly from side to side, as a leaf flutters down. (13) Shiver. (14) Hold position of hands down, palms toward floor. (15) Move hands to sides. ARIEL'S SONGS. BY WILLIAM SHAKESPEARE. I. Come unto these yellow sands, (1) And then take hands: (2) Curtsied when you have, and kiss'd (3) Foot it featly here and there; (4) Hark, hark! (5) I hear The strain of strutting chanticleer. (7) II. Full fathom five thy father lies; (8) Ariel was "an airy Spirit." Explain to children the occasions of these songs as told in "The Tempest," and try to have them catch their spirit and meaning. (1) Extend both arms in front pointing down to sands. (2) Move arms from front to sides to "take hands." (3) Make graceful (4) curtsy and kiss hand toward right. Extend right foot, pointing toe toward floor; extend left. (5) Bend forward in listening attitude. (6) Stand erect. (7) Stand erect and point to left. (8) Both hands pointing straight downward in front. (9) Still holding hands down, turn palms front. (10) Raise hands to mid front line on "pearls," then upward on eyes." (11) Raise hands slowly upward in front, palms front, in surprise. (12) Lower hands to mid front line, turning palms up. (13) Motions of pulling a bell-rope. (14) Point down to flower with right hand, then point to self on "I." (15) Point to left. (16) Bring left arm up, bend elbow, and droop head upon it as if sleeping. (17) Flying movement, floating arms up and down at sides. (18) Clasp hands joyously in front of chest. (19) Tip head backward, looking up, and point up with both hands. The dead leaves hurry; (9) the waters, too, (1) Raise both arms and swing hands in circles from wrist. (2) Swing hands from side to side. (3) Lower hands in front and look down. (4) Make larger and slower circles with same wrist movement. (5) Point upward in front with both hands. (6) Lower arms in front. (7) Extend both arms with quick movement to left side; then to right; then extend at each side at head level and float slowly down to shoulder level. (8) Arms extended motionless at sides. (9) Raise arms in front and float downward like whirling leaves. (10) Extend both arms to right and carry across to left with undulating movements from wrist. (11) From "scurry" turn palms up and hold extended arms at mid line. (12) Point forward and outward with right hand. 66 "B LIKE A CRADLE. BY SAXE HOLM. Like a cradle, rocking, rocking (1) Jarless, noiseless, safe, and slow; (3) (1) Advance one foot and sway forward and back. (2) Raise both hands to mid line, palms forward, and look downward. (3) Raise hands in front to head level, and revolve them slowly around each other. (4) Float hands slightly outward at same level, and hold them with palms down, head bent forward. [To be continued.] Stage Effects in "Ben-Hur." EN-HUR" was published in 1880, yet twenty years elapsed before it was dramatized. Through courtesy of Scientific American we present the following article and illustrations of scenes as played at the Broadway Theater, New York, representing the latest phases of good stage mechanism. It will be remembered that Ben-Hur, hero of the play, is betrayed by Messala, his one-time friend, and is hurried away to the galleys, while his family are thrown into prison and their possessions confiscated. The Roman tribune, impressed with the appearance of BenHur, now a galley slave, gives orders that when they go into battle BenHur shall not, like other galley slaves, be chained, for, in case of the boat sinking, the slaves would all be drowned. Then comes an action with pirates, in which the galley is sunk. The crash and grinding of timbers are admirably rendered by what is known as a "crash" machine. Lights are turned out and in an instant are lighted again, showing the wreck scene (Fig. I.). The side scenes fold up instantly when the change is made and drop to floor. The rowers' benches are pushed out of the way and the borders and back-drop are raised from view. The galley slaves with their oars drop to floor, and men from the rear draw forward a painted cloth which represents the sea; it is secured to a batten and is laid down back of footlights. Men now step forward carrying the cloth which covers the raft, which rests upon the tribune's seat. The backdrop scene was in place before the back-drop of the galley was raised, It will be remembered that galley slaves are lying on floor and they now throw up and down the canvas cloth, producing a most realistic imitation of waves. They are assisted by a number of men in the wings, who pull the cloth in unison. The raft itself consists of two cradles, so hinged that a rocking motion is given in two directions. This is done by Ben-Hur and Arrius themselves. The raft is in position in previous scene, but is not allowed to move, being held by pins, which are removed by men behind. With an electrical sun and proper electrical effects, the scene is realistic and interesting. Ben-Hur, in his wanderings, comes across his enemy, Messala, and decides to humble and ruin him by a chariot race in the circus at Antioch, and this scene is one of the most realistic ever produced. It is a combination of various effects, some of them old and many of them entirely new. When first introduced on the stage, the horse race was a decided novelty, and it is doubtful if any stageillusion is more ingenious. The two principal plays in which the horse race has been used are Neil Burgess's production of "The County Fair" and the Paris play, "Paris Port de Mer." In both of these plays three horses, each ridden by a jockey, race on the stage without going out of sight of spectators. In these plays is an illusion true to nature; the horses, appearing to be free from all restraint, are really galloping, the ground disappearing under their feet and landscape as well as fences fly past in direction contrary to forward motion of the horse. This is accomplished by means of a treadmill, which the horses themselves actuate. A large part of the illusion depends on the background, which gives the idea of positive motion, and the one shown in Fig. II. It embodies means for mounting and driving traveling aprons at rear and sides of stage, son. so as to prevent any break in scene, and this, of course, gives the audience. the impression of change of scenery, as in the illusion the spectator follows the racing horses. At rear of stage is an endless apron, flanked on each side by smaller endless aprons, each complete in itself, but operated in uniWhen not in use the side aprons may be folded back against rear apron. On these aprons are painted representations of background of scene; in this case representing the antique circus at Antioch filled with spectators. Directly below the chariots will be seen the electric motor which actuates all three aprons of panorama. It is a five-horse power motor, operated by the assistant, who stands at switchboard and receives signal of stagemanager by a flash of a colored electric lamp. The motor is started manually. A twisted belt imparts motion to a vertical shaft on which are three pulleys, one to receive power from countershaft and the others to transmit power to the two ends of vertical shafts, which each carry a cylindrical drum, around which the aprons are passed. Their rotation causes the apron to travel continuously, and gear-wheels are provided, which impart motion to the side aprons, so that they are all driven in same direction, and to the spectator the three aprons appear to be a continuous, unbroken scene. Notwithstanding the fact that the panorama is 96 feet wide and 25 feet high, the three panoramas are all rotated 2,000 feet a minute by a two-horse power motor. The ease with which this enormous extent of canvas is driven is largely owing to the method of suspension. There is an endless track mounted rigidly on and extending between the outrigger-structures at the two ends, and on this wheels or roll ers are mounted to run on the tracks. The wheels or rollers are secured to hangers attached to a belt running around upper portions of drum to which panorama apron is fastened. By these means the apron is suspended in proper position, and is caused to turn true around the drums without crinkling or being subjected to other distortion. The lower edges of the aprons are provided with a beltmechanism, similar to that at top, which serves to keep bottom edge of apron in proper position. These belts also serve to receive the power transmitted by the drums, which arrangement avoids straining the apron, as would be the case were the apron engaged directly with the drums. These hangers are shaped as frustums of a cone and are mounted by ball-bearings on the spindles which carry them. To make the illusion complete, exceedingly ingenious means cause the chariots to appear to be actually moving over the ground. This illusion is effected by a number of narrow, endless canvas belts, painted in low tones to represent the ground and placed edgewise on stage between and in front of chariots and extending across stage. On being driven toward rear of chariot it appears to spectator that the chariots are moving over the ground. To give proper perspective to this effect the speed at which the belts are driven is gradually decreased toward rear of stage. Suitable gearing is provided for driving these belts, which are actuated by an independent motor shown at right of picture. The belts themselves are carried on pulleys mounted on housings which may be readily placed in position when the scene is set. For connecting the pulleys which carry the belts with gear for driving them, couplings are pro vided which pass through floor of stage and which may be readily taken up when the chariots are removed, leaving a clear and uninterrupted stage. We now come to the chariots themselves (Fig. III.). Treadmills are placed immediately beneath the stage and are covered by sections of planking which are removed and carried out to the wings when the race is to take place. There are eight treadmills, one for each horse, and the horses are brought from stables a short time before needed, and take their places with artists and supernumeraries awaiting their cue to go on the stage. They seem to take huge delight in the performance, and seem to know to the minute the time when they are to run. There are two chariots and each is supposed to be drawn by four horses, and each chariot is provided with a pole. The chariot of Ben-Hur is not a trick chariot, but that of Messala is arranged to go to pieces when Ben-Hur is supposed to strike his chariot, throwing him and causing him to lose the race. The chariot wheels do not rest on floor of stage, but are supported on metal yokes not noticed by audience. The wheels are actuated by a small electric motor inside the body, and can be switched on by the drivers. Both chariots have these motors, and current is obtained by aid of plugs inserted in floor. The chariot of Messala is arranged so that at the critical moment when Ben-Hur strikes Messala's chariot by dropping a catch, powerful springs on axle throw the wheels off and body of chariot drops on a yoke provided with springs. Of course, it is necessary to make one of the chariots appear to go ahead of the other. This could be managed by allowing the horses really to advance, but with four horses this might prove dangerous. The same means is accomplished by having the four treadmills and the place Messala's chariot rests on an independent section of flooring, which can be moved back 15 feet. Underneath stage joists support this movable section and it slides directly on top of these joists. Curtains simulating the color of stage close the aperture at both ends, so that it is not visible to audience. At extreme right of Fig. II. behind side of panorama, will be seen men working at a winch. This winch winds up a wire rope which is carried over a pulley at extreme left underneath stage, and is connected with entire movable section carrying Messala's chariot and horses, and three men move the whole affair back with ease and give the appearance of Ben-Hur winning the race. A stop is provided so that the treadmill cannot be operated by the horses until panorama has begun to move and curtain is ready for operation. The horses are very securely fastened, so that there is little danger of accident. To simulate dust raised by chariot wheels, a combination of powders is forced out underneath horses' feet and behind chariot wheels. This is accomplished by a blower in cellar, driven by same electric motor which actuates the belts. The dust is fed into a hopper and blown through fourteen ducts arranged at proper intervals to produce desired result. The "dust" is a combination of vegetable products arranged so as to imitate the dust of a road having the buoyancy of natural dust without its grit. It requires about eight minutes to set this scene, and in that time the side panoramas are folded out into position, sections of floors are removed, and chariots are rolled into position and adjusted. The horses are hitched to chariots, connections. are made with belts for giving effect of moving ground, and dust arrangements are put in place. |