Secrets of scene painting and stage effects

The idea of dramatic representation is to produce the impression of reality, and the value of such representation is in direct measure with the force of such impression. In this connection stage scenery and effects are of the utmost importance. When properly used, they add tremendously to the realism of dramatic representation. We see this clearly proved in London to-day at such theatres as Drury Lane and His Majesty’s. The success of the big productions at those theatres depends almost, if not quite, as much upon the quality of the scenery and effects as upon that of the plays performed or of the actors and actresses engaged. This is shown by the views expressed by the dramatic critics and the public generally. Perhaps the production at Drury Lane is a strong melodrama. What is most discussed in connection with that production? Almost always some big and novel effect, such as the representation of a race between aeroplanes or a battle between submarines. Again, in the case of a Shakespearean production at His Majesty’s, the talk in the green-rooms and at the dinner-tables of London is often more of the scenic beauty of the production than of the achievements of the actors and actresses, and the talk of the ‘man in the street’ follows the same lines.

The ancient Greeks and Romans were very fond of the drama and have left us some great plays, but they did not realise the value of scenery; indeed, very often their performances were given without scenery of any sort. The drama of the Romans, like most other manifestations of their civilisation, was based on that of the Greeks. The greatest of the Greeks as playwright and producer was Æschylus, who flourished about 500 B.C. There appears to be little doubt that it was he who first introduced scenery in connection with dramatic representations. To him, too, the credit is due of having erected the first permanent theatre. Previously, the dramatic performances of the Greeks had always been given in the open air.

The scenery used by Æschylus was stationary scenery; indeed, it was not until more than 2000 years after his period that movable scenery was first introduced. There has been much discussion as to the actual date when this took place. Some students of the Elizabethan drama have asserted that movable scenery was used by Shakespeare and his contemporaries; but the proofs of this are not at all definite. The general consensus of opinion is to the effect that Davenant, the English playwright, was the first to apply this novelty. At any rate, there is convincing evidence that in or about the year 1662 he produced a play with the accompaniment of movable scenery. Probably this scenery was very clumsily contrived, but it embodied the principle on which the cleverest effects of the present day are based.

And how clever some of those effects are! It is worth the while of anybody at all interested in theatrical matters to inspect the scenery arrangements at an up-to-date theatre. At every turn he will find something to wonder at and admire. Quite recently at one of the London theatres there has been installed a new electrically driven equipment for raising and lowering cloths, sky borders, curtains, and for setting ceilings, etc. It has proved a great success. Wire is used instead of the old hempen ropes, and this is an enormous advantage from the fire-risk point of view. Further, it has enabled the number of stage hands to be reduced. The equipment works with far less noise than the ordinary hand system, and much more quickly and certainly. It seems quite likely that before long this electric-power system will be the one adopted at all the big theatres, but for the smaller theatres, and certainly for the halls at which amateur companies usually give their performances, the old system will continue to be used.

There have been a number of books issued during recent years on the subject of Scene Painting and Stage Effects. I have read all of them, but have come to the conclusion that none effectively covers the ground. Some of these books are evidently produced as advertisements of dealers in paint for scenic purposes. Those dealers doubtless know much about the making and mixing of paints, but it does not follow that they are acquainted with the art of placing the paint on canvas, any more than it follows that a maker of pens or paper is a literary man. Others of these books are far too technical, both as regards matter and style. The perusal of them cannot possibly be of much assistance to the amateur in scenic painting, however intelligent he may be. It almost seems as if the authors did not really wish to impart information, but only to publish a book showing their own intimate knowledge of abstruse terms and definitions.

I think the present book will be found to be free from the faults to which I have just referred. It is not an advertisement of any man’s goods; it has been kept as free as possible from technical difficulties; and it is an honest endeavour to cover the ground with which it deals. The book includes within its scope the whole art of scene painting. It deals with the problem of perspective in as clear and simple a way as possible. It gives designs of typical scenes and of the furniture appropriate to such scenes. Further, it contains much useful information as to stage building—from a platform for a drawing-room entertainment or a fit-up tour to an elaborate permanent structure. In addition to all this it describes in detail the working of scenery, including curtains, full scene sets, a chamber set, etc.

The need for such a book is evident. Every town of any size has its amateur dramatic society, and in the big towns and cities those societies are to be counted by the dozen. Amateurs quite rightly pride themselves on doing as much as possible in connection with the performances they give; they make their own costumes and even sometimes write their own plays. Now they will be able to paint their own scenery. In the case of almost every amateur dramatic society, there is at least one member who has some knowledge of the art of painting. With the aid of the advice and information given in this book he will be able to apply that knowledge for scenic purposes. Without such advice and information, however clever a painter he may be, he could not so apply it. There is a world of difference between painting a picture to hang on the wall of a gallery or a drawing-room and to be inspected at short range, and in painting a scene to form the background of a stage and to convey a bold and definite effect to hundreds or thousands of people inspecting it from all parts of a big hall or theatre.

In this connection I may mention a performance which I witnessed in the provinces recently. It was given by a local amateur society. The play was a good one, and the acting was good, but the scenery was lamentably poor! It had been painted by two talented artists, both of whom have several times exhibited at the Royal Academy, but they had failed entirely to get the effects at which they had aimed. Looked at from a few yards’ distance, the scenes were simply a blur of paint; yet, when I went round after the performance and inspected them closely, I found that as ‘pictures’ they were admirable productions. That is the difference in a nutshell—a scene may be and should be picturesque, but it is not a ‘picture’ in the Royal Academy sense of the word. At other amateur performances I have seen various shifts resorted to. The background of the stage has been covered by ordinary wall-paper and hung with ordinary pictures. The effect has never been what was intended. The play produced may have been a comic one, but, in my case at any rate, quite as much laughter was excited by the faulty scenic effects as by the jokes uttered by the actors.

As a matter of fact, there are very few working scenic artists; the profession may quite fairly be termed a close corporation. The artists realise that so long as their number is few, their individual receipts will be high. Instead of welcoming any addition to their ranks, they do their best to keep others out. To go to one of these scenic artists for information as to his profession is simply to waste time. I heard a story the other day of a man who knew something about the business, and who wanted to learn the more intimate secrets. He obtained the acquaintanceship of a skilled scenic artist and did his best to extract those secrets from him. He failed utterly. He even went to the extent one night of deliberately making the artist drunk, or nearly so, in the hope that then the man would talk. The man did talk, but none of his talk was about his art. Although not master of his faculties, he still had the sense to know that he must not impart any information about his art. He talked about his wife, his mother-in-law, and many other interesting subjects, but not a word fell from his lips as to scene painting or stage effects.

Some dealers sell paper scenes, which to some extent supply the need felt by amateur societies—but only to some extent. The scenes are usually of miniature size and are inadequate for large stages; besides, the mounting of them on canvas is a difficult and expensive task, and even when it is performed the result is often imperfect, for paper soon crumples up on a canvas background. The best thing is for the amateur to do his own work if possible. This book will make it possible. All the various points are dealt with. The reader will learn as to the right sort of canvas, the right sort of glue, and the right sort of brushes. Valuable hints will also be found as to scenic artists’ frames, the stretching of canvas, the use of pulleys to pull up canvas, stencilling, and many more necessary matters. Exact diagrams as to all these are given. The pages dealing with the construction of a platform will be found very useful. On how many occasions is not such a platform wanted! There is the need for one, not only for the purpose of dramatic representations but also for concerts and various social functions.

The book deals very fully with stage effects. The reader will learn the best and simplest ways of producing the effects of rain, snow, hail, thunder, galloping of horses, etc. Occasions for the use of these occur in very many plays performed by amateurs. The realism of such effects is very great if they are produced properly. The truth of this may be proved at any of the cinematograph theatres; the impression of the pictures is again and again intensified by some effect worked behind the curtains. Stage lighting is also adequately dealt with in the book. This section will be useful to many amateur societies. It is not sufficient to have the right sort of limes—there must also be a full knowledge of the best way of working those limes. That knowledge will be obtained from a careful study of the section in question.

Every endeavour has been made to illustrate the book in the best possible manner. The plates showing typical scenes will assist the amateur scenic artist very considerably. The diagrams as to perspective have been made as simple as possible, with due regard to the necessity of their illustrating the accompanying letterpress adequately. Indeed, the whole note of the book is the coupling of simplicity and efficiency.