THE COMICAL CONCERT. A Musical Game. This is a very laughable game. The "Comical Concert" performers are each provided with a wine glass and a spoon, on which they are to play by striking lightly the edges of the glass at every place marked in the music. The second time it is played, they are to clap hands at the same places; the third, the boys are to whistle; at the fourth repetition they are to laugh; a grand finale of spoons! The air is of course played on the piano. THE GERMAN CHORUS. spoons spoons spoons spoons spoons These very favourite and often beautiful living pictures are a charming family amusement for Christmas or winter evenings. They may be done so as to approach perfection in the way of pictorial effect; or very simply, to charm the home circle. A double drawing-room, with folding doors, renders their performance very easy, as the framework of the doors makes an excellent frame for the picture. But they may be performed in a hall, by fixing up a wooden picture-frame made for the occasion and covered with gilt paper. We will suppose, however, that our young readers have a good inner drawing-room given up to them, and that the frame of the folding doors is to be that of the picture. They must then stretch a screen of rose-coloured gauze or fine pink tarlatan very tightly across the opening, in order to subdue and harmonize the tints of the intended Tableau. Lights are placed so as to throw out the light and shade of the picture; coloured lights (which may be easily made or procured) add greatly to its effect. A very charming Tableau is that of a wreath of young girls or children, called "LIVING FLOWERS." We will tell you how to arrange it. A number of boxes, rising in height one above the other, are arranged so as to form a circle; or a number of seats are built to effect the same purpose, reaching from the front of the stage to the ceiling in the background. The gallery of an infant school might be borrowed for the purpose, and the foreground managed with boxes. This circle should be ten feet in diameter. The boxes or seats should be entirely covered with white cloth; the space in the centre of the circle with pink cambric. The "Living Flowers" should be dressed in white muslin low dresses, and short sleeves, and not very wide or full skirts. The hair should be crowned with flowers, real or artificial. The smallest performer must be placed at the top of the wreath. She must recline in an easy position, resting her head on her hand, the elbow touching the box. The next in size must take her place on the box or seat beneath, on the right side, and rest her arm on the lap of the first child placed, her head leaning on her hand, her face turned to the centre of the circle, the eyes raised to those of the figure above. The remaining figures take similar positions until one-half of the circle is completed. The other side of the circle is arranged in a similar manner, the figures facing inwards. A large wreath of spruce fir, holly, ivy, and trails of paper flowers (the mode of making which is given in this book), must be put inside the young ladies' circle, and fastened up to their seats. Small festoons of flowers are to be placed between, and wreathed around the figures. The light for this picture must come from the bottom of the stage, and should be very strong. This Tableau, when finished, appears at a distance like a beautiful wreath of lovely faces; but the arrangement of the seats requires a carpenter and some outlay. We therefore suggest two or three more tableaux of an easier description. 1ST TABLEAU. Tell shooting the apple from the head of his son. Scenery must be painted representing an Alpine landscape; a swiss cottage, &c., in the distance; a green cloth must cover the foreground, on which Tell stands, his arrow fixed, in the act of firing; his young son, with bandaged eyes, stands firmly at the given distance. In the background sits Gesler in armour, surrounded by his guards; at the sides stand Swiss peasants young and old, as many as the number of the performers will allow. The dress must of course be Swiss, except that of the Austrian governor and soldiers, which must be armour of the period. The faces must all be turned towards Tell and his son, and should express fear, pity, and anxiety. Gesler should lean on a huge sword, with an air and look of haughty disdain and discontent. 2ND TABLEAU.-Titania and her suite, with Puck. The back drawingroom may be made a perfect greenwood by putting boughs of trees and large potted shrubs in it. A mossy bank may be made of green cloth; flowers of gay hues should be dispersed among the greenery. On the bank, Titania (a child of nine) may lie asleep, folded in a regal mantle of crimson or purple, and crowned with flowers and crystallized sprays. Her ladies, represented by six or seven little girls, are grouped around: they must be smaller than herself, and dressed in different colours, their frocks being made of gauzy and light materials, and looped with flowers; wreaths should be worn on their heads; their wings made of gauze, and their tiny wands of hazel and flowers. On the left side Puck is seen peeping mischievously at them. He holds a heartsease in his hand-the magic flower which he has been ordered to rub on the Queen's eyes. On the other side Helena and Hermia are just visible in the distance, represented by elder girls dressed in Greek costumes; they stand looking angrily at each other, as if quarrelling. The light should be soft to resemble moonlight in this picture. 3RD TABLEAU. On the well-known story of King Alfred in the hut of the swineherd. He is sitting leaning his head on his hand, and looking at the fire. Cakes burnt are on the hearth. An old woman is standing near, her hand raised to strike him. In the distance you perceive the Saxon Thanes approaching. The scenery of this Tableau must also be painted. It is the interior of a rude Anglo-Saxon hut; painted red-hot logs of wood are lying on the hearth: orange peel does very well as a representation of fire. The dress of all the figures must be that of the period. Alfred as a peasant wears a smock frock, and long fair hair on his shoulders. The old woman is in the costume of the times, with petticoat, coif, &c., &c. History, the works of Sir Walter Scott, and Shakespeare, will supply plenty of subjects from which our young friends may select Tableaux. A curtain must hang before the open folding doors, to be drawn up when the bell rings to announce that the Tableau is ready. The curtain is kept up thirty seconds the longest time possible, as no movement must be made by the actors in the Tableau. It then falls, to rest them, for the space of two minutes, after which they resume their attitudes, and it is raised again for the same length of time. Generally each Tableau is shown three times. Coloured lights cast on the scene are often a great source of embellishment. For example: it would add very much to the beauty of the Tableau of "Living Flowers," if a rosy tint could be thrown on them just as the curtain is about to fall. ACTED CHARADES. An acted charade is a little drawing-room drama, by the performance of which the young players represent, first the syllables, then the whole, of a word. The parts may be represented by one connected story or not, as the performers please; or they may be distinct from each other, which is an easier and more common mode of performing them. Impromptu acted charades are very improving, and often quite as amusing as those learned and prepared before representation. But, as young ladies generally prefer written ones, we subjoin two as examples of what the acted charade is, and for their use, if required. Each performer should copy out her separate part, and learn it quite perfectly. One of the party, however, must act as prompter, and, with the book in her hand, out of sight of the audience, help the memory of those who may hesitate in their recitation. A back drawing-room with folding doors makes a good theatre. It should be lighted from the sides brilliantly, as foot-lights are dangerous. The scenes should be painted, if possible, by some of the party, coarsely but effectively, and will require changing between the parts of the word, when the curtain has dropped. Enter ST. GEORGE and the TURKISH KNIGHT. ST. GEORGE. I'm very glad to see you, Bajazet ; TURKISH KNIGHT. I welcome you, most valiant English knight! |