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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/77020-0.txt b/77020-0.txt new file mode 100644 index 0000000..f37650b --- /dev/null +++ b/77020-0.txt @@ -0,0 +1,1823 @@ + +*** START OF THE PROJECT GUTENBERG EBOOK 77020 *** + + +_Ten Recreational Parties_ + +_by_ + +HELEN DURHAM + + THE WOMANS PRESS + 600 LEXINGTON AVENUE + + NEW YORK, N. Y. + + + Copyright, 1924, by + Helen Durham + + This is a revised and amplified edition of Six Recreational + Parties, by the same author. The last three are not parties, + strictly speaking, but suggestions for adding variety to larger + entertainments. + + Printed in the United States of America + + + + +CONTENTS + + + Page + + Foreword 5 + + Peanut Party 7 + + Newspaper Party 12 + + Balloon Party 16 + + Doll Party (Pantomime) 20 + + Japanese Party 25 + + George Washington Party 31 + + Circus Party 37 + + Italian Street Scene 43 + + Gypsy Scene 47 + + Christmas Service 53 + + + + +FOREWORD + + +As a recreational director under the War Work Council of the National +Board of the Young Womens Christian Associations, I discovered that it +was difficult to get simple yet colorful recreational material suitable +for the various groups with whom I worked. Game parties, in which +straight games were played, became tiresome. Each group, accustomed +to the thrill of the movies, sooner or later demanded something +more exciting, so I hit upon the plan of combining the most popular +games, featuring with them some simple property such as balloons or +newspapers, as an entire evening’s entertainment. The Peanut, Newspaper +and Balloon Parties are the result of this experiment. Then, after a +while, the groups would want to take a more active part themselves. +The Japanese, Doll, George Washington and Circus Parties are the +outcome of this stage in my recreational experience. These parties are +more elaborate than the first; in fact, they require a great deal of +preparation and cooperation on the part of the group. After these came +the demand for something still more colorful and entertaining. Again +I took something familiar, such as a group of songs and dances, and +combined them with some idea of the dramatic, costumed and set them +in a suitable and attractive background. The result was surprisingly +effective in spite of the simplicity of the material and the idea. The +Italian Street Scene and the Strolling Gypsy Scene are two examples of +this type of entertainment. + +The Christmas Service is an example of a still more elaborate attempt +at “recreational dramatics,” as one might call this collection. The +particular merit of the tableau is that it is very simple to produce, +yet very lovely, if well done. The pictures themselves can be planned +and worked out before the tableau itself is put together. In one or two +rehearsals the music, chorus singing and the pictures can be combined. +If the performers themselves catch the spirit of the occasion the +effect of the whole is very beautiful and impressive. + + Helen Durham. + + + + +A PEANUT PARTY + + +In which peanuts are featured in a variety of old and new ways. + +_Invitations_: Carefully split a large-sized peanut and fold inside +a small piece of white Japanese tissue on which the invitation is +written. Tie the peanut together with a narrow orange ribbon. Or +write the invitation on an orange-colored card and attach to it +several round peanuts, the shells of which have been grotesquely +decorated to represent tiny faces. The color, orange, is suggested in +the invitations, properties and decorations only because it vividly +contrasts with the neutral shade of the peanut. + +_Properties_: Upon arriving, the guests are given small orange-colored +paper or tarlatan bags in which they may keep the peanuts won in the +various games. At the end of the party there is a final counting and +the person having the greatest number of peanuts in his bag wins the +prize. + +_Note_: The games suggested need not be played in the following order. +This is one arrangement which has proved satisfactory for both large +and small groups. The first three games are played at a table around +which four or six people sit. A bowl of peanuts and two or three +hatpins should be placed on each table before the game starts. + + +1. GUESSING GAME + +At a given signal from the director, each person at the table tries to +guess the number of peanuts in the bowl. After all the players have had +their chance, the peanuts are counted. The person who came nearest to +the correct number receives four peanuts as a reward, which he keeps +for the final counting. All the other peanuts are returned to the bowl +for the next game. + + +2. PIERCING GAME + +Each person is given a hatpin with which he tries to pierce the peanuts +in the bowl. He has three trials. All the peanuts he pierces he may +keep. + + +3. GRABBING GAME + +Each person in turn grabs all the peanuts he can hold in his hand. +After counting the number grabbed, he returns all of them to the bowl +and the next player tries his grabbing capacity. The person grabbing +the largest number may keep that number of peanuts as a reward. + + +4. PEANUT RELAY + +Chairs and tables are pushed aside and the players are lined up for a +relay race in two, three or four even lines, depending upon the size of +the crowd. + +Draw on the floor two chalk circles for each relay line, one directly +in front of each leader and another several yards beyond, at the +farther end of the room. Place one peanut in each circle. At a given +signal each leader picks up, with a table knife, the peanut from the +circle directly in front of him and runs with it to the circle at the +other end of the room. He must then pick up the peanut from that circle +and carry it back to the first circle. Then he touches off the next +player in his line, who tries to do the same stunt, that is, exchange +the peanuts from one circle to the other circle. The winning line is +the one which accomplishes this feat most quickly. Each member of it +gets three peanuts as a reward; the line which finishes second gets two +peanuts each. + + +5. PEANUT THROWING + +From these relay lines swing into one big circle, with hands joined. + +Place an empty waste-basket in the middle of the circle. Give each +player three peanuts. At a given signal each player tries to throw his +three peanuts into the basket. Those that fall on the floor he loses. +Those that land in the basket he may reclaim. As a reward he receives +twice the number reclaimed. + + +6. PEANUT PASSING + +Line up two even groups facing each other with hands joined. At a given +signal each leader, the first person in each line, picks up with his +free hand as many peanuts as possible from a large bag at his feet. He +passes them to the person next to him, who in turn passes them to the +person next to him, and so on. The person at the very end of the line +deposits them in a bag at his feet. At the end of two or three minutes +a signal from the director ends the game. The peanuts passed by each +line are counted and the total amount is divided among the players of +the line which passed the greatest number in the given time. + +Of course in passing the peanuts the players must not unclasp hands. If +a peanut is dropped, two people with hands clasped must pick it up. + + +7. PEANUT ALPHABET + +Retain the players in the same formation as for the peanut passing. + +Have two sets of cardboard letters which spell the word “peanut.” +Choose any twelve players, six from each side. Line up these teams +of six opposite each other. Give a letter “p” to the first player on +either side, a letter “e” to the next one, and so on, so that each +team spells the word “peanut.” The director then calls off a word like +“net.” Each player who has the letter “n” must step out in front of his +team, holding up his letter so it may be plainly seen by the director. +The person on that team holding the “e” must step out beside him, and +so on until the required word is formed. The team that forms the words +most quickly wins. As a reward each member of the team and everyone on +that side gets a peanut. Use simple words like “pa,” “tune,” “pat,” +“pen,” “aunt,” “pun,” “ate,” “pan,” and finally the word “peanut.” + + +8. MUSICAL PEANUT + +Let the crowd break up and seat themselves about the room. + +Send someone out of the room. Give to any member of the group a +“musical peanut,” which is of course an ordinary peanut. Explain to the +group that when the searcher enters, all must sing some popular song, +at first very softly, and then more loudly as the searcher wanders in +the vicinity of the musical peanut. The searcher is then invited in +and, guided by the song of the group, tries to find the peanut. When +the peanut is found, the person holding the musical peanut becomes the +searcher. + + +9. PEANUT BAGS + +Before the guests arrive, paper bags containing various numbers of +peanuts are strung across the end of the room, about eight feet from +the floor. Give each player three peanuts and line them all up about +twenty or twenty-five feet from the bags. At a given signal the entire +line tries to hit a bag. Each person has three throws. He may have the +contents of each bag he hits. + + _Note_: It is usually necessary to leave someone near the line to cut + down the bags the moment they are won, otherwise there will be much + confusion. + + +10. PEANUT HUNT + +At a given signal the players scurry around, looking for peanuts which +have been hidden in all parts of the room. Each player may keep all he +finds. + + +11. PEANUT PRIZE + +After the players have counted the number of peanuts won throughout the +evening, have them march to music around the room in a big circle. +When the music stops, those having less than fifteen peanuts drop out +of the circle. The marching continues until the music again stops, when +those having less than twenty-five peanuts drop out, and so on until +the person having the largest number of peanuts stands alone. As a +reward he is given a grotesque doll made of peanuts. + + + + +A NEWSPAPER PARTY + + +In which newspapers are featured in a variety of ways. + +Have the hostesses and guests, upon arriving, dress themselves in +newspaper costumes. All sorts of unique ideas can be carried out, such +as newspaper duncecaps, bonnets, aprons, frills for collar and cuffs, +pleated skirts. It will be found that surprising originality and taste +will be shown by some. Have plenty of string, pins and toothpicks at +hand, for they will be needed to keep these fragile creations in place. +Open the party with a grand march and have the judges immediately award +the prize for the cleverest newspaper costume. + +Have the players group themselves in a three, four or five line +formation, ready to play an adaptation of Bancroft’s “Maze Game.” + + +1. POLICEMAN AND NEWSBOY + +The chaser, who carries a paper club, is called the “Policeman.” The +runner is called the “Newsboy.” Have the players stand in parallel +ranks with hands joined, thereby making aisles through which the +Policeman can chase the Newsboy. When the director gives the order +“right face,” or “left face,” the players drop hands and face in that +direction, clasping hands with their new neighbors. In this way new +aisles are made which alter the direction in which the Policeman is +running and which give the Newsboy a better opportunity of escape. The +director, who tries to keep the Policeman from catching the Newsboy, +must give his orders with alertness and wisdom, so as to prevent the +capture. Neither Policeman nor Newsboy can break ranks or tag across +lines. It sometimes adds excitement if two Policemen are used. + + +2. PREFERRED NEWSPAPERS + +This game is an adaptation of the familiar “Black and White.” + +Line up the players in two even ranks down the center of the floor, +with their backs to each other. Call each side after a popular local +paper. At a given signal the director shouts the name of either +newspaper. The players in the line bearing that name run frantically to +the side of the room toward which they are facing. The players on the +opposite side turn and try to catch them. Those caught must go over to +the other side. The second line-up, uneven this time, proceeds in the +same way, awaiting the call of the director. + + +3. MUSICAL NEWSPAPER + +Divide the players again into the same even groups. This game is an +adaptation of the familiar “Musical Partners.” + +Every player takes a partner from his group, so that each partner has +the same newspaper name. They march around the room to music. When the +music stops for a moment, everyone must change partners, being sure +that the new partner belongs to the same paper. This necessitates hasty +shifting and much shouting of identification. + + +4. NEWSPAPER RELAY + +Line up the players in two or three even ranks, giving each player two +single sheets of newspaper. At a signal from the director, the leaders +race down to the opposite goal and back again, stepping only on the +sheets of paper, which they lay on the floor as they progress. The +next player in line repeats the process after he is touched off by the +preceding player. The line which finishes most quickly wins. + + +5. PROTECT THE NEWSBOY + +Adaptation of the familiar “Wolf and Hind.” + +The players form in a straight line with their hands around the waist +of the person ahead. At the very end of the line stands the “Newsboy.” +The chaser, called the “Policeman,” faces the leader of the line and +at a given signal tries to catch the Newsboy. The line, however, tries +to keep itself between the Policeman and the Newsboy. The players must +hold on tightly to each other, so as not to break the line, thereby +enabling the Policeman to dart through and get a better chance at +the Newsboy. When that Newsboy is caught he changes places with +the Policeman, who takes the place at the head of the line. The new +Policeman tries to catch the person at the very end of the line, who +has now become the Newsboy. + + +6. CATCH THE NEWSBOY + +Adaptation of “Bird Cage.” + +Divide the players into groups of four. Three of each group join hands +in a circle and call themselves “Policemen;” the fourth is called the +“Newsboy.” Without unclasping hands, the Policemen try to catch in +their ring the Newsboy, who may run anywhere in the room. If he is +caught he becomes a Policeman and one of the Policemen takes his place. + + +7. PREFERENCE OF LOCAL PAPERS + +Adaptation of familiar “Jerusalem and Jericho.” + +The players are in circle formation. The director, who stands in the +center of the circle, takes a vote on which of the two local papers the +group prefers. The director then explains that if he calls the name of +the preferred paper, everyone must repeat the name and bow, but if he +calls the name of the unpreferred paper, everyone must repeat the name, +but not bow. If anyone bows after the name of the unpreferred paper +is called, that person must come into the center of the circle. The +director himself bows after both names, thereby trying to get the other +players to mimic him. The success of the game depends largely upon the +enthusiasm of the director and his helpers. + + +8. NEWSPAPER FIGHT + +Blindfold any two players and give to each a club made of newspapers +folded lengthwise. Spread a newspaper on the floor. At a signal from +the director, each combatant puts his left hand on this newspaper +and with his paper club in his right hand fights his opponent. Being +blindfolded, both quickly lose their sense of direction, so instead of +striking each other they usually strike the floor. If there are several +pairs, each cheered by their followers, the game becomes very exciting. + + + + +BALLOON PARTY + + +Decorate the room with balloons, and perhaps crêpe paper streamers. +Upon arriving give every guest a crêpe paper cap to which he may attach +a balloon for decoration. Give balloons as prizes for each game. All +the balloons which are used as prizes may be effectively used as a +central decoration in some such way as follows. Have a large barrel +hoop, bound with crêpe paper, suspended from the ceiling in the center +of the room. To this attach by strings dozens of colored balloons. When +a person wins a balloon, give him one of these at once or wait until +all the games are over and the final score is taken and then present +the balloons as a final ceremony. + + +1. BALLOON RELAY + +Three or four strings should be stretched tightly from one end of +the room to the other, about four feet from the floor. An ordinary +brass ring hangs on each taut string. To each of these rings attach a +bright-colored balloon. + +Divide the players into even groups, according to the number of +strings. Line them up at one end of their respective strings. At a +given signal, the leader of each line starts blowing the balloon on his +string down to the other end of the room. After each leader has taken +his balloon down to the other end of the room, he runs back to place +and touches off the next player in line, who runs down to the balloon +and returns it to the original place in the same fashion. The third +player in line then takes his turn, and so on. Of course no player must +touch the balloon with his hands. A balloon is given as a reward to the +player in each line who accomplishes the feat most quickly. + + +2. BALLOON TOSSING GAME + +Keep the players in the same formation. Each group is given a large +sheet which they hold by the edges parallel to the floor. At a given +signal the director tosses a balloon into the center of the sheet. +Each team tries to keep this balloon tossing in the air by moving the +sheet up and down. No one is allowed to touch the balloon save the +director. Even if it falls to the floor the director must pick it up +and put it back in place. The group which keeps the balloon moving the +greatest number of minutes wins. Each player of that winning group gets +a balloon as a prize. + + +3. MUSICAL BALLOON PARTNERS + +Give each person a colored balloon, being careful that there is an +even number of each color. The two people having the same color march +together. An extra person, who marches alone, is given a balloon of any +of the colors used. When the music stops, everyone must quickly change +partners, choosing a new one who carries a balloon of the same color as +his own. This gives the extra person an opportunity to get a partner, +who, however, must carry a balloon of his color. When the music again +starts, the new person left without a partner marches alone, waiting +his chance to get a partner. + + +4. BALLOON VOLLEY BALL + +Stretch a piece of colored string across the room. The object is the +same as in volley ball, that is, to keep the balloon off the floor on +your own side and make it touch the floor on your opponents’ side. Use +either one or two balloons, depending upon the number of players. Of +course use only the simplest rules of volley ball, thus making the game +suitable to play in the average room. Each player on the winning side +gets a balloon. + + +5. BALLOON SNATCHING + +A large balloon is placed on a chair, or preferably on a small stool, +anywhere on a line which is halfway between two even lines of players. +At a given signal a player from each line walks forward to the balloon. +Each tries to snatch it and run back to his place without letting his +opponent touch him or the balloon. If he arrives safely it counts one +for his side. The next two players then try the same stunt. After each +pair of players has tried the stunt, each member of the line having the +largest score gets a balloon. + + +6. TABLE BALLOON + +The players are seated at a table. The object of the game is for each +side to bat several balloons back and forth without letting them drop +on the table. If a side fails to return the balloon while it is in +midair, it counts one against them. Players may rise to bat the balloon +when it is necessary but they must immediately sit down again. Each +player on the winning side gets a balloon. + + +7. BALLOON DANCING + +This introduces the game element into social dancing. + +Give to each person a colored balloon, being sure that there is an even +number of balloons of the same color. Each dancer must find and dance +with a partner with a balloon of the same color. When the music stops, +everyone must find a new partner with a balloon of the same color. + +Give to each couple a balloon. At a given signal all start dancing, at +the same time keeping their balloons tossing in the air. If a balloon +falls to the floor it counts against that couple. The couples who keep +their balloons in constant motion throughout a dance receive a balloon +as a prize. + + + + +DOLL PARTY + + +The invitations may be written on pieces of colored paper cut in the +shape of tiny dolls. Have the guests come to the party dressed as dolls +or children and the hostesses as nursemaids. + + +1. DOLL DRESSING CONTEST + +Place the guests at small tables on which there are bits of colored +crêpe paper, scissors, string, pins, needles and thread. Give everyone +a tiny penny doll to dress. It is a good plan to have on exhibition +one or two dolls already dressed in crêpe paper, to furnish ideas +to the guests. Very cleverly dressed dolls can always be bought +from the Dennison Company, 26th Street and Fifth Avenue, New York. +One of these makes an excellent prize for the person who makes the +best doll costume. Usually people, whether old or young, if given a +few suggestions will enter into the spirit of the game and the most +ingenious and attractive creations will be made. + + +2. CHILDREN’S GAMES + +Play the simple, familiar games such as “London Bridge” or “Drop the +Handkerchief,” “Going to Jerusalem” and so on. + + +3. MIDNIGHT IN THE DOLL SHOP + +Entertain the guests by dramatizing some children’s story, or staging a +pantomime such as the following. + + +Midnight in the Doll Shop + +A pantomime by Barbara Wellington. + + _Scene_: A doll shop with counters running along left wall, back-stage + and right. + + _Characters_, from stage right to left: + + Right--Brownie, French Doll, Tin Soldier. + Back--Chinese, Indian, Jack-in-the-Box, Dinah, Golliwog, Dutch Girl. + Left--Two Rag Dolls. + + The clock strikes twelve. Curtain opens on dolls lifeless on counters, + in characteristic attitudes. Brownie is sitting cross-legged; the + French doll is holding her skirt and peeking up at the soldier; the + soldier holds his gun, stiffly; the Chinese has his arms folded, hands + in sleeves; the Indian stands with tomahawk raised; Jack is in his + box with cover shut; Dinah’s hands are on her hips; Golliwog’s arm is + around her; the Dutch doll has a pail on her arm; the rag dolls lean + limply against each other. + + All slowly come to life. Jack pops out of his box and goes through + jerky exercise. A dumb-bell drill may be used (music 4-4 time). At the + finish, Indian raises tomahawk over Jack with threatening attitude. + Jack pops back into box; cover shuts. Indian does war-dance of seeing + enemy, giving war cry (silently), fighting battle, and smoking + peace-pipe. + + He ends by chasing the rag dolls down-stage and around to the right + and center, taking his place where they were. The rag dolls do a limp + dance exactly alike, leaning against each other and flopping heavily + at each step. They finish by dropping down up-stage right, with feet + straight out before them. + + Jack-in-the-Box pantomimes clapping and the tin soldier sends him into + his box again by aiming his rifle. Then, wound up by French doll, + he marches forward stiffly to center-stage. She works his arms and + head and makes him embrace her, then winds him up for dance step of + progressing across stage, toeing out with both feet, and then in. She + does a ballet dance kick-step as she watches him. Finish off-stage. + + Golliwog and Dinah try to imitate them in the same positions on stage, + and burlesque the steps. They turn it into an old-fashioned cake-walk + and as they finish up-stage right, Dinah waves her bandana and drops + it. + + The Chinese doll shuffles forward and picks bandana up, goes back + to get his tub, scrubbing board and iron, and proceeds to launder + handkerchief, center-stage, facing audience. He turns scrubbing board + over for an ironing board. Finishes, folds handkerchief and hands it + to Dinah with bow. Goes left. + + The Dutch doll comes forward, sees imaginary water splashed onto the + floor and holds up her hands in horror. She gets pail, and kneeling, + scrubs vigorously, facing left center and then right, on knees in each + new position. Then, trying the floor with her sabot, she puts away her + pail and does a Dutch wooden shoe dance. Finishes right. + + The Brownie, who has been mimicking everybody as he sat on the + counter, right, hops down and does a clown dance, ending with a + cartwheel, left. + + As each doll finishes his stunt he takes his place in a semicircle at + back-stage. + + All swing into dance. As orchestra sounds cock-crow, all break line + and scramble back to original places. + + Tableau, as in the beginning. + + +Doll Dance + + To the “Parade of the Wooden Soldiers” from the “Chauve Souris,” + published by Ed. B. Marks Music Company, 223 West 46th Street, New + York. + +1. 8 measures. + + Introduction--4 measures--dolls take places in line. + (Omit 28 measures of music.) + Starting R foot, kick in front, kick to side. 1 measure. + Step R foot behind L, step L to side, step R in front and + hold. 1 measure. + Repeat, starting L. 2 measures. + Repeat, starting R. 2 measures. + Repeat, starting L. 2 measures. + +2. 8 measures. + + Point R heel forward, point R toe in back. 1 measure. + Take 3 short steps forward, starting R, and hold. 1 measure. + Repeat, starting L foot. 2 measures. + Step back R and kick L. 1 measure. + Step back L and kick R. 1 measure. + Step back R and kick L. 1 measure. + Step back L and kick R. 1 measure. + (Omit 4 measures of music.) + +3. 16 measures + + Whole line moves to R, toeing in and out, as follows: With + heels together and toes out, rise on R toe and L heel + and swing both feet to R so that toes are pointing in; + then step on R heel and L toe and swing feet to R so + that toes are pointing out again. 1 measure. + Repeat 7 times. 7 measures. + Repeat, swinging feet to L instead of R so that line returns + to original position. 8 measures. + (Omit 24 measures of music.) + +4. 8 measures. + +Repeat 1. + +5. 8 measures. + +Repeat 2. + +Interlude. 4 measures. + + With knees bent and feet together, jump on both feet, making + one half-turn to R. 1 measure. + Jump back to place. 1 measure. + Jump on both feet, making one half-turn to L. 1 measure. + Jump back to place. 1 measure. + +6. 8 measures. + + Move to R with following step: Step R to side, step L, toe + beside R heel, step R to side, step L, toe beside R heel. + 1 measure. + Repeat. (Keep R foot on floor and knees stiff, as though + being pushed by L foot.) 1 measure. + Turn in place with same step. 2 measures. + Move back to place with same step, using L foot and R toe. 2 measures. + Turn in place with same step. 2 measures. + +7. 6 measures. + + Step back R and kick L. 1 measure. + Step back L and kick R. 1 measure. + Step back R and kick L. 1 measure. + Step back L and kick R. 1 measure. + Step back R and kick L. 1 measure. + Step back L and kick R. 1 measure. + +8. 8 measures. + + With very small steps run to front of stage. 4 measures. + Throw kisses to audience on all sides. 4 measures. + + + + +A JAPANESE PARTY + + +A Japanese Party may be made very attractive and picturesque if +Japanese costumes, properties and music are featured. + +Write the invitations on Japanese paper fans and ask the guests to +come in Japanese costume. Light the room with low-hanging Japanese +lanterns and decorate it with Japanese screens, hangings and flowers. +Artificial cherry blooms, which look surprisingly like the real ones, +can be made in the following way. Out of pale pink French tissue paper +cut little circles about one and a half inches in diameter and make +a pin hole in the center of each circle. Slip these circles on bare +branches, creasing them around the branch so as to give the effect of +a budding blossom. The hostesses, who are in Japanese costume, should +preside over the tea trays. Have the guests sit in small groups on the +floor and be served tea and rice cakes in Japanese fashion. By way of +entertainment the story of Puccini’s opera, “Madame Butterfly,” can be +told in some such charming way as the following. + + +THE STORY OF “MADAME BUTTERFLY” + +A girl, dressed to represent Madame Butterfly, tells the story of the +opera while appropriate bits of the score are being played. + +Use an end or corner of the room and decorate it to represent a +Japanese garden or interior. A Japanese screen as a background, one or +two low-hanging lanterns, lighted, a rug and several vivid cushions on +the floor, some cherry blossoms or a low bowl of Japanese flowers make +a very suitable and effective setting. Madame Butterfly, dressed in a +pale gray or wisteria Japanese kimono and brilliant obi (sash), enters +with short, pattering steps. She wears a chrysanthemum in her hair +and perhaps she carries a Japanese fan. She kneels upon the cushions +and bows in oriental fashion to her audience. After the prelude to +the opera, she begins the tale of Madame Butterfly. The story must be +simply and vividly told, bringing out its pathos and charm. When she +finishes she bows again to the audience, rises and makes her exit with +the same little pattering steps. + +Oriental bow: Kneel on both knees and bend directly forward so that the +head almost touches the ground; then slowly assume an erect position. + +If the narrator can sing one or two selections from the opera, +especially the famous solo “One Fine Day,” of course it adds +tremendously. It is very important that the music harmonize with the +words, which necessitates careful selection and practice. Probably only +an accomplished musician with a feeling for atmosphere can successfully +do this. + +The following song and dance can follow Madame Butterfly’s story. + + +JAPANESE SONG AND DANCE + +Music. Geisha Dance, by Eduardo Marzo in “Dance Songs of the +Nations,” John Church Company, publishers, New York. Words of the song +by Margaret Lacy. + +To be sung by the dancers themselves, or by one or more soloists while +the dancers go through the steps. + + In a forest of Japan a pretty maple grew. + She coquetted morn and even with the strong bamboo; + Maidens hung on her their lanterns when they came to dance, + And she watched with exultation each admiring glance. + + Then her leaves would gently whisper, nestling in the breeze, + To the pretty maidens dancing there beneath the trees, + “O! O! Dance, O pretty maidens, dance ye on the grass below, + Forward bending, lightly swaying gently to and fro. + Each of you will have a hero, loyal, brave and true, + But not one will be more loyal than my strong bamboo.” + + When the bamboo heard her singing he was filled with glee + And he nodded to the maple, so that she might see + That he loved her very dearly and was worthy, too, + Of the trust that she confided in her strong bamboo. + + And the maple peeping over saw his signal sweet, + Sang again unto the maidens dancing at her feet. + “O! O! Dance, O pretty maidens, dance ye on the grass below, + Forward bending, lightly swaying gently to and fro. + Each of you will have a hero, loyal, brave and true, + But not one will be more loyal than my strong bamboo. O!” + +Stage this song and dance in the same setting that was used for the +Madame Butterfly story. Before the dancers appear, place bright +cushions, one for each dancer, on the floor in a semicircle. Have eight +or more dancers enter from each side with little pattering Japanese +steps, take their places behind their cushions and bow in oriental +fashion to the audience. They are dressed in bright-colored Japanese +kimonos and sashes, with chrysanthemums in their hair. Each carries +a fan which is held stiffly in front of her chest, with the forearm +pressed slightly against the body. The head is held to the side in a +prim little fashion such as one sees in old Japanese prints. Every +gesture is formal and studied. (This is the Japanese pose referred to +in the dance.) + + +Japanese Dance + +For the introduction any number of measures may be played while the +dancers enter and take their places. + +_Figure 1_--16 measures. + +Starting on the first word of the song, “In,” make the following +motions, keeping time with the music. + + (a) Sway to the R side. 1 meas. } + Sway to the L side. 1 meas. } through word + Sway to the R side. 1 meas. } “grew.” + Body and head held erect. 1 meas. } + 4 measures. + + (b) The same motions, but starting L, that is, + Sway to the L side. 1 meas. } + Sway to the R side. 1 meas. } through word + Sway to the L side. 1 meas. } “bamboo.” + Body and head held erect. 1 meas. } + 4 measures. + + Repeat through word “glance.” 8 measures. + + _Interlude--Japanese pose._ 4 measures. + +_Figure 2_--16 measures. + + Walk with the quick little Japanese pattering steps + described above around the cushions to R, coming back + to place on word “below.” 4 measures. + Repeat (b) of Figure 1 through word “fro.” 4 measures. + Walk in the same fashion as above around cushions to L, + coming back to place on word “true.” 4 measures. + Repeat (b) of Figure 1 through word “bamboo.” 4 measures. + + _Interlude--Japanese pose._ 4 measures. + +_Figure 3_--16 measures. + + Repeat (a) of Figure 1 through word “glee.” 4 measures. + Nod head slowly forward. 1 meas. } + Raise head slowly. 1 meas. } through word + Repeat. 2 meas. } “see.” + 4 measures. + Repeat (b) of Figure 1, through word “too.” 4 measures. + Same nodding motion repeated twice, through word “bamboo.” 4 measures. + + _Interlude--Japanese pose._ 4 measures. + +_Figure 4_--8 measures. + + Repeat (a) of Figure 1, through word “sweet.” 4 measures. + Repeat (b) of Figure 1, through word “feet.” 4 measures. + + _Interlude_--All dancers kneel slowly forward and down + on both knees without losing balance or bending body, + and slowly sit back on their heels in oriental fashion. + +_Figure 5_--16 measures. + + Repeat (a) of Figure 1, through word “below.” 4 measures. + Repeat nodding motion of Figure 3, through word “fro.” 4 measures. + Repeat (b) of Figure 1, through word “true.” 4 measures. + Turn head slowly to R side. 1 meas.} + Turn head slowly to L side. 1 meas.} through word + Hold head, face forward. 2 meas.} “bamboo.” + 4 measures. + +As the dancers sing the prolonged “O” of the last two measures they +bend their bodies forward so that their heads almost touch the floor. +Repeat the music until they rise and exit with the same little +pattering steps. + + +PANTOMIME OR PLAY + +“Cat Fear,” a fanciful Japanese comedy in pantomime by Marion N. +Gleason,[A] or any other Japanese play or pantomime, may be added in +order to make a complete evening’s entertainment. + + +FOOTNOTES: + +[A] The Womans Press. Price 50 cents. Royalty of $5.00; $2.50 to +Y.W.C.A. groups. + + + + +COLONIAL OR WASHINGTON’S BIRTHDAY PARTY + + +The guests are invited to come in Colonial costumes. The host should +be dressed to represent George Washington; the hostess, Martha +Washington. Feature these two people as much as possible in the +receiving line, as leaders of the minuet and grand march, and as master +and mistress of the ceremonies throughout the evening. When it is time +for the program to begin, have George Washington himself announce that +he is going to present to his guests all the various types of American +girls who live or will live in this country. + +The music then swings into a plaintive Indian tune and an Indian girl +dressed in a striking costume of brown leather enters. She bows to +George Washington, to his lady and to his guests and passes down the +center of the room and away. George Washington then announces that a +Puritan girl will be presented next. The music changes to “Auld Lang +Syne,” and a lovely girl in Puritan costume enters, bows shyly to +her host and passes in a demure manner down the center of the room. +A Colonial girl and her escort come next. They dance the minuet for +the guests. One by one the various types of girls who have lived in +this country present themselves. The program can be made elaborate +or simple, depending upon the number of characters used. The modern +American girls may be omitted or others substituted, according to +occasion. Those suggested are described below in detail. If one wishes +to add others, see the Fashion Review, “Down Petticoat Lane,” published +by The Womans Press, from which the idea of this party has been taken. + + +AMERICAN GIRLS + + _Character_ _Music_ + American Indian Girl 1500 “The Chattering Squaw” + +Striking brown Indian costume, beaded and fringed; brown stockings, +leather moccasins, and beaded head-band with bright red feather at the +back. Stands at opening in characteristic Indian pose, head up, body +erect, arms folded across chest. Comes down room with familiar Indian +loping step, bows to guests and exits. + + Puritan Girl 1650 “Auld Lang Syne” + +Simple gray Puritan costume; white cap, kerchief, cuffs and apron, +white stockings and black shoes. + +Bows shyly to the audience, walks forward with hands demurely clasped, +makes a quaint courtesy to George Washington and exits. + + Colonial Girl and Man 1750 Mozart’s Minuet from “Don Juan” + +Girl in Colonial costume of bright satin: tight bodice, lace kerchief, +pannier skirt; white stockings, black pumps with silver buckles; +powdered hair or wig. + +Gentleman in brocade or satin coat, vest, ruffled stock and frill, +knee breeches, white stockings, black pumps with Colonial buckles, and +powdered wig. + +They enter together, bowing to each other, then to audience, and come +to the center of the room. They dance the Colonial minuet,[B] and exit +at farther end of the room. + + Empire Girl and Partner 1800 “Glow Worm” + +Girl in high-waisted costume of Empire period: short, puffed sleeves, +neck cut low off shoulders, long train; poke bonnet of satin to match +gown, either worn or carried by streamers; high-heeled satin slippers +to match gown; hair parted and done high in back with curls at each +side. + +Gentleman in tight-fitting satin trousers, satin coat of darker color, +brocaded vest, ruffled stock and high silk hat. + +They enter and dance Gavotte. + + Hoopskirt Girl 1850 “Believe Me, If All Those + Endearing Young Charms” + +Girl in wide, old-fashioned hoopskirt costume; tight basque, lace +kerchief, ruffled pantalettes, poke bonnet, white lace mitts and small +parasol. + +Gentleman in light broadcloth trousers, long-tailed coat, plain +double-breasted vest of a contrasting color, high stock, high silk hat +and burnsides. + +They stroll in together. When they reach the center of the room the +music changes to Jump Jim Crow from “Maytime” by Victor Herbert. The +man sings the song to the girl and they dance together.[C] + + Bustle Girl 1875 “When Johnnie Comes + Marching Home Again” + +Girl in old-fashioned bustle costume of silk: long full skirt with +very stiff petticoats underneath, tight bodice, leg-o’-mutton sleeves; +elaborately trimmed hat of the period, perched high on the head; black +silk mitts and parasol. + +She enters with quick steps, courtesies to host and hurries down the +room. + + Southern Girl “Dixie” + +Girl in light, ruffled dress and large floppy leghorn hat covered with +flowers. She carries a ruffled parasol and flowers in her arms. + +She enters, smiling left and right, courtesies in a rather flirtatious +manner, presents a flower to her host and saunters down the room. + + Western Girl “Cheyenne” + +Girl in short khaki riding skirt and blouse, red handkerchief around +neck, broad-brimmed western hat, high boots, belt and pistol. + +She dashes in, waves hat to the audience and to host and rushes out +through audience. + + Debutante and Dancing Partner Any popular waltz + +Lovely girl in dance frock; stockings and evening slippers to match. +Carries a bouquet of flowers. + +Enters with partner as if entering a ballroom and bows to the host. +They dance some of the latest steps. + + Modern Gym Girl Any suitable music + +Girl of athletic type in gym costume of dark blue bloomers, white +middy, black tie, black stockings and white sneakers. + +She carries a basket ball which she dribbles down to center of room. + + Evening Girl Any popular song + +Tall striking-looking girl in handsome evening gown with stockings and +slippers to match; bright velvet evening wrap with handsome fur collar. +Carries huge black ostrich fan. + +She enters with great poise and assurance, displays her gown like a +manikin and exits down the center. + + Bride and Her Attendants Wedding March from + “Lohengrin” + +Beautiful girl in white satin bridal gown with long court train and +white tulle veil caught with orange blossoms. Carries huge shower +bouquet of white roses and lilies-of-the-valley. + +Attendants in organdie dresses of pastel shades; tarlatan hats to match +gown; small nosegays of pink roses. + +Bridesmaids enter by twos, followed by the bride. The wedding +procession passes down the center to the end of the room, where the +bridesmaids group themselves in a semicircle around the bride. The +other performers enter and come forward to congratulate the bride. The +music changes to a march. George Washington gives the bride his arm and +together they lead everyone, performers and guests, in a grand march. +At the close of the march George Washington may make a little speech +to the guests, saying that he hopes everyone has enjoyed his party and +that they will come again next year to help him celebrate his birthday. + + +FOOTNOTES: + +[B] For description of dance see “Ten Timely Dances,” The Womans Press. + +[C] “Ten Timely Dances,” The Womans Press. + + + + +A CIRCUS PARTY + + +A Circus Party may be made just as elaborate or just as simple as +one wishes. If one is planning to give an elaborate affair, detailed +suggestions can be found in “A Circus,” published by the Womans +Press.[D] The following plan has been worked out to meet the demands of +those who wish to give a rather simple circus party. + +A typical circus barker stands at the outer door. In professional lingo +he invites the guests to come inside. “Ladies and gentlemen, right this +way, right this way! The cleverest collection of comical characters +that ever came to town! Right this way, ladies and gentlemen, right +this way! Nothing finer in the world! Don’t fail to see it. Right this +way!” + +The room in which the circus is held should be decorated to look like +a circus tent, if possible. Stretch a piece of old canvas across the +ceiling so that it gives the effect of a tent roof. At each end of the +room arrange booths where refreshments are served. Pink lemonade and +ice-cream cones should be in one, and perhaps “hot dogs” in another. +Have peanuts distributed by venders throughout the crowd. Try to +arrange all sorts of side shows. Display in one the freaks, such as +the armless woman, an Albino, the dog-faced boy, the bearded lady, the +tallest man in the world and others of Barnum and Bailey fame. Be sure +that there is a good barker to “ballyhoo” them and to point out the +peculiarities of each. Have one or two fortune-telling booths, perhaps +a Gypsy palmist and a Turkish crystal gazer. + +All sorts of throwing contests can be arranged to attract and amuse the +crowd. For instance, in one booth have a row of cocoanuts suspended +from the ceiling on strings. Give everyone three chances at hitting a +cocoanut. If anyone succeeds he may keep the cocoanut as a prize. Or +have a broken china booth where each person may take three chances at +breaking any bit of crockery he wishes. + +Or a game known as “Hoop-la” amuses people immensely. In the center +of a roped-off ring place several prizes on small blocks of wood. The +object of this game is to ring these blocks with ordinary embroidery +hoops, which should exactly fit over the blocks. The person who throws +a hoop so that it circles the block completely, gets the prize on that +block. + +Or have a tub or watering trough full of water, on which small shallow +dishes are floating. The object of the game is to throw coins onto +these dishes. The money that lands in the dish is doubled and returned +to the person but any which falls in the water he loses. (Of course +this game should not be played if the party is an invitation affair.) + +A dart contest is always popular. Tack at the back of a booth a pack +of playing cards. Give each player five small wooden darts with a +sharp point in the end of each. The object of the game is to hit with +these darts three cards of the same kind, that is, three Jacks or +three Queens. If a player hits the three cards of the same kind in +five trials he is given a pack of playing cards as a prize. Such games +always attract people, especially if at each booth there is a lively +barker who will amuse the crowd and keep things going. + +To add atmosphere have all sorts of comical circus characters wander +through the audience--clowns, a rube and his wife, a big fat Irish +policeman, Charlie Chaplin, Sis Hopkins and others. Let them play +all sorts of tricks on each other and on the crowd. Have balloon and +confetti venders everywhere, dressed in bright costumes. + + +THE BIG SHOW + +Of course no circus party can be complete without a Big Show. This also +may be made just as simple or as elaborate as one wishes. Suggestions +for a few acts are briefly described. If one wishes to give a more +elaborate program, detailed directions can be found in “A Circus” +mentioned above. + +Stage the Big Show in the center of the floor and have the audience +stand or sit around this ring. Use the barker who stood at the entrance +as the ringmaster. In the most extravagant professional lingo he +should announce each act, pointing out its marvels. There should be a +band to help create the circus atmosphere. If a real band cannot be +had, a kazoo or a vocophone jazz band makes an excellent substitute. +Vocophones are papier-mâché instruments the size and shape of regular +band instruments but made in such a way that by blowing or humming +through the mouthpiece a most melodious and voluminous sound comes +forth. They may be purchased from A. Schoenhut Company, Hagert and +Sepviva Streets, Philadelphia, Pennsylvania, eight instruments for +twelve dollars. Kazoos, small musical mouthpieces, are only a few +cents apiece. Dress the musicians themselves in regular brass-buttoned +uniforms such as bandmen usually wear, or dress them as a colored +minstrel group with white duck suits, huge bright-colored ties and +blackened faces. They should lead the parade and play the piano +whenever such type of music is needed. + + +PROGRAM + +The Parade. + +All the performers used in the circus should enter, headed by the +ringmaster, who leads his group around the ring several times and out +through the opposite exit. First comes a jazz band followed by the +clowns, who prance from side to side tormenting the other performers +and doing all sorts of queer antics for the crowds. The freaks should +follow them, and then the wild animals, led by their animal trainer, +the acrobats, the jugglers, bareback riders and the rest of the circus +outfit. After the parade the ringmaster may detain the freaks in the +ring to display the peculiarities of each. + +Animals. + +If you can rent or make any animal costumes, be sure to have an animal +act. It always amuses the audience if it is cleverly and realistically +done. Have the ringmaster, who acts as animal trainer, put the animals +through all sorts of stunts. He should have a long whip which he snaps +vigorously as he shouts his orders. The lion and the tiger may play +ball with each other, keeping up a constant roar as they toss the ball +back and forth. The polar bear may ride a bicycle, the monkeys may have +a boxing match. The act may be ended by having all the animals dance +around on their hind legs to some lively fox-trot music. + +Clowns. + +Be sure to have a clown stunt. Use all sorts of clowns, tall and short, +fat and thin. Have some of them do some tumbling or pyramid stunts, +familiar to any gym instructors, and have others mimic them in a +ridiculous fashion. They may end the act with a dance.[E] + +The other numbers on the program can be any special stunts that lend +themselves to circus burlesque. Two others from “A Circus” have been +included below to show the type of thing which is always popular at a +circus and which will not take any special time or work in preparation. + + +JATO, THE JAPANESE JUGGLER + +Judged to Have the Jump on All Jugglers. + +The act should be performed by two people who are able to put a lot +of burlesque into it and play it successfully to the gallery. Jato, +the juggler, dressed in Japanese kimono, balances his Japanese wife on +his upturned feet. Of course she merely sits on his feet, balancing +herself with the tips of her toes safely on the floor, but bowing and +smiling as though it were a most difficult stunt. Then, with the aid +of an invisible wire suspended from the ceiling, Jato balances such +articles as chairs and tables on his nose. He must hook them cleverly +to the loop end of the wire, as he arranges them in place, so that for +a time the audience is in ignorance of how he does the trick. Finally, +Jato carelessly leaves an object hanging in midair and thus discloses +his secret. His wife quickly snatches it away as he bows to the amused +audience. The old trick of lifting a supposedly heavy weight, which is +finally allowed to bounce on the floor, may be included in this act. + + +DAISY, THE DARING AND DAZZLING TIGHT ROPE WALKER + +Displaying Unrivaled Skill and Recklessness. + +A tight rope stunt can be worked out by one, or even two girls, +dressed in fluffy tarlatan costumes with tight bodices and short full +skirts. Stretch a rope tightly across the floor. On it the performer +makes her way across the ring, going through all the gestures and +balancing movements of a real rope walker while the orchestra plays +very melodramatic music. When she reaches the center, have the music +stop while she makes a daring turn, presumably in midair. The orchestra +starts up again with a bang. Of course there is much applause from +the audience. She may even dance along the rope, finishing her stunt +with a quick pirouette turn and a dainty jump to the floor. With many +elaborate bows to the audience and to the ringmaster she leaves the +ring. + +As a finale have all the performers prance around the ring several +times to lively music, throwing confetti and serpentine at the +audience. This procession will make a very gay and appropriate ending +for the Big Show. + +Be sure that everything pertaining to your evening’s entertainment is +gay, colorful and circus-like. Try to have the audience and performers +catch the spirit of fun and jollity that makes a circus party go. + + +FOOTNOTES: + +[D] “A Circus,” The Womans Press. Price 50 cents. + +[E] “Ten Timely Dances,” The Womans Press. Price 50 cents. + + + + +AN ITALIAN STREET SCENE + + +_Note_: This is a side show or interlude in a larger entertainment +rather than a party in the usual sense of the word. + +The setting is a gay, sunny Italian street or corner in the market +place. Across the center-back is a fruit stand piled high with +vegetables and fruits and bunches of hanging bananas. At one side is a +two-wheeled pushcart; at the other, a wooden bench. When the curtain +goes up everything suggests the happy, lazy activity of an Italian +street on a bright summer day. The fat, good-natured looking fruit +dealer, in gay peasant costume, is selling vegetables to a chattering +peasant woman who carries a huge basket on her arm. A handsome Italian +youth lounging on the bench is being persuaded by a pretty Italian +flower girl to buy her flowers. “Fiori, belli fiori, un soldo al’uno” +(Flowers, flowers, one cent apiece), she urges. He feigns amused +indifference and goes on smoking his cigarette. An Italian boy, sitting +on the floor against the wheel of the pushcart, is playing a harmonica, +utterly oblivious to his surroundings. An old bent-over vender, pushing +his cart across the back of the stage, cries, “Tomati, potati, e +pepperone freschi” (Tomatoes, potatoes and fresh peppers). Two pretty +Italian girls stroll by. + +This action goes on in pantomime until way in the distance “O Sole Mio” +can be heard. The boy with his harmonica stops his playing and runs in +the direction from which the music comes. The music grows nearer and a +group of strolling Italian street musicians enter. They are dressed in +the bright costumes of the troubadour type. Some of them are playing +stringed instruments. The singers carry tambourines. One of the girls +in the group, who is evidently a dancer, catches sight of the handsome +Italian youth and goes over toward him. Two peasant girls who chance to +be passing by stop and watch her. The fruit dealer, his customer and +several other passers-by stop and listen to the music. From “O Sole +Mio” it changes into the well-known solo from “Il Trovatore,” “Oh, I +Have Sighed to Rest Me,” sung by one of the men in the group. Without +a pause, two others, a man and a woman, sing the duet from the same +opera, “Home to Our Mountains.” + +The crowd applauds with great enthusiasm, and the music begins again +in a gayer strain. “Fickle Is Woman,” from “Rigoletto,” is sung with +spirit. The men sing the first line, the women the next, and so on, +alternating, until the last refrain, “Borne on the Breezes,” which is +sung together. From that they swing into “Finiculi, Funicula,” which +pleases the crowd immensely. The music changes to a lively Italian +dance rhythm. The dancer who has been trying to attract the attention +of the Italian youth strikes her tambourine and dances a wild, spirited +dance, without taking her eyes off him. She ends the dance with several +fast turns down-stage, stopping directly in front of him. The crowds +applaud, the youth rises and together they dance the Tarantella to gay +Tarantella music. Some of the singers and several of the onlookers join +them, dancing and singing “La Peppinetta.” They dance round and round +in a glad carefree fashion, laughing and throwing flowers at each other. + +The music swings back into “Finiculi, Funicula,” which everyone sings +and applauds wildly. The musicians collect their pennies from the crowd +and start off, singing “O Sole Mio,” the song with which they entered. +Some of the crowd follow, others wander off. The Italian youth watches +the dancer for a minute and then resumes his lazy pose on the bench. +The music grows fainter and fainter in the distance. The peasant woman +continues her bargaining with the fruit dealer. The boy takes his place +by the pushcart and goes on playing his harmonica. Gradually the street +resumes its accustomed lazy atmosphere, which had been interrupted for +a moment by a group of strolling players. + + +LA PEPPINETTA + +From “Songs of Italy,” collected by Marzo, published by Schirmer, New +York. + +Milan (Lombardy). Sung by the group or by the dancers. + + Italian: Che bel moffin la Peppinetta! + English: What a sweet face has Peppinetta! + + Corpa de dia, vui fagh l’amor! + Body o’ me, if she were only mine! + + La la lie-ra la la la lie-ra la la la la la la la la la la! + la la lie-ra la la la lie-ra la la la la la la la la la la! + + Che cara tosa allegra, scetta, + She is a dear, I cannot forget her, + + L’eona bellezza, l’èon ver te-sor! + Lively, and lovely, truly divine! + + La la lie-ra la la la lie-ra la la la la la la la la la la! + la la lie-ra la la la lie-ra la la la la la la la la la la! + + Se o-na quei volta su quel moffin, + If any time I dare to do it, + + Podess mo fagh quel che vui mi, + What I would like to, on her face, + + Mi ghe faria on bel basin, + With a warm kiss I’ll venture to woo it, + + Che no desideri de pu d’insci! + And I shall wish no more and no less! + +(Repeat last two lines twice.) + + D’insci, d’insci, d’insci, d’insci! + No less, no less, no less, no less! + + La la lie-ra la la la lie-ra la la la la la la la + la la la la la la lie-ra la la la lie-ra la la la + la la la la la la la la la la la la la la la la! + + + + +GYPSY DANCE + +This dance is arranged for four or more couples, a solo dancer and +her partner. To be effective it must be staged with the proper Gypsy +atmosphere and the larger the group the better. Have the Gypsies seated +and lying around the stage in a rough circle. When the curtain rises +they are talking, laughing and humming songs. Almost instantly a Gypsy +man enters, dragging after him a Gypsy maid, whom he throws into the +center of the circle. The captive gradually raises her head and, seeing +the curious gaze of the group around her, decides to win them by her +dancing. As the music starts and she begins to dance, some of the +Gypsies in the group take up tambourines and play them in time to the +music; others sway back and forth or hum snatches of the tune. + +Music. Danse de la Gipsy, by C. Saint-Saëns, from the Opera +“Henry VIII.” + + Introduction. Rise to standing position with hands on hips. + 2 measures. + +Steps. + +_Figure 1_--16 measures. + + {Starting with R foot, run 5 steps toward one group + { of Gypsies. 1 measure. + (a) {Step forward on L foot, step backward on R foot and + { drag L foot back to R toe. 1 measure. + {Turn and repeat whole toward another group of Gypsies. + 2 measures. + + {Step with R foot and make half-turn toward R, count 1. + {Step with L foot and make half-turn toward R, count 2. + (b) {Step with R foot and make half-turn toward R, count 3. + {Step with L foot and make half-turn toward R, count 4. + {Hold position, standing on L foot with R foot extended + { at side and head flung back, looking over + { R shoulder, counts 5 and 6. 1 measure. + + Repeat (b) twice. 2 measures. + + Hold final position and swing R arm in arch in front of + body and out to R at shoulder height. 1 measure. + +Repeat (a) and (b), bringing feet together at end of final measure. + +_Figure 2_--18 measures. + +Progress around circle, keeping back to center, with following step, +hands on hips. + + {Step L foot diagonally across R, bending both knees. + (a) {Step R foot back and to the side, step L foot behind + { R, step R to the side. + + Repeat 8 times. 3 measures. + (b) Step to R and pirouette with arms circling overhead. 1 measure. + (c) Repeat (a). 3 measures. + + {Run 5 steps, starting L, toward one of the groups of + { Gypsies. Step forward on R foot and hold R hand + (d) { out as though in supplication. 1 measure. + {Repeat 3 times, advancing toward a different group + { each time. 3 measures. + + Repeat (a) for one measure. 1 measure. + + {Step L foot across R, bend L knee and extend R foot + { at side, then sweeping R arm across body in circle, + (e) { raise body to standing position with feet together. + { 1 measure. + + Repeat (e). 1 measure. + Repeat (a) in double time. 3 measures. + Pirouette in center of stage with arms circling overhead + and pose with feet together, arms stretched out overhead + and head flung back. 1 measure. + +_Figure 3_--34 measures. + + {Step R foot to side, bring L foot to R heel, change + {weight to L foot, change weight to R foot. (This + (a) {should be done on the toes with a slight bend in the + {knees.) 1 measure. + {Repeat to L. 1 measure. + + {4 mazurkas, starting R. 2 measures. + { Mazurka: Slide R foot diagonally forward R; + { bring L foot up to R heel and step on it, raising + { R knee high with R foot pointing down at L + (b) { knee. + {Step forward R and hold with L foot at R heel, + { counts 1 and 2. + {Step back on L foot, count 3. Drag L foot back to + { position in front of R toe and then place weight on + { L foot, counts 4, 5, 6. 1 measure. + + Step back L, dragging R foot to position. { 1 measure. + Step back L, dragging R foot to position. { + + {Pirouette L, hands circling over head, and hold pose, + { standing with weight on L foot, L hand on hip and + { R arm extended over head. 1 measure. + { (An experienced dancer may substitute a leap-turn + (c) { for the pirouette.) + {Pirouette R and pose. 1 measure. + {Pirouette L and pose, swinging R arm across body + { and back to position over head. 2 measures. + {Repeat (b) through (c) three times. 24 measures. + +_Figure 4_--12 measures. + + {Hold final position of Figure 3 for 2 counts, then drop + { on R knee, with body and head turned toward R and + { bent over R knee and L leg extended straight out + (a) { behind. L arm swung back following line of L leg, + { count 3. Rise to standing position through 3 counts + { of music, swinging R arm forward and over head. 1 measure. + {Repeat to L. 1 measure. + + {Hold 2 counts in standing position, replacing hand on + { hip. + {With 5 two-steps forward, starting R, progress in a + (b) { small circle around stage. + { Note: The two-steps should be done with the knees + { slightly bent and a swaying motion from side to + { side. 2 measures. + + Repeat (a) and (b). 4 measures. + + {Step R and pirouette, 2 counts. + {With 20 large steps, starting R, run around circle, + (c) { keeping back to center. + {Step R in center of stage and pirouette, ending with + { arms stretched out over head, and head flung back, 4 measures. + +_Figure 5_--22 measures. + +Four couples jump up from the group and take places in four corners of +a square around the solo dancer. Man joins solo dancer as her partner +for this step. This action must be spontaneous, as though the solo +dancer had excited the rest so that they could no longer keep still. + +The girls stand with their backs to the center of the circle. The +weight is on the L foot and the R foot is extended toward partner. The +R hand clasps partner’s R hand, the L arm is flung straight up over +head. + +The men stand facing the center of the circle in the same position as +the girls. + +The solo dancer and her partner take the same position as the rest of +the group, standing in the center of the stage. + + Hold position for 2 counts, then, swinging L arm down at + side and keeping R hands joined, exchange places with + partner with 4 running steps, starting R. 1 measure. + + Repeat back to place. 1 measure. + + Hold original position for 2 counts, then, placing hands + on hips, with 5 two-steps, starting R, each girl advances + toward the man in the couple on her L, each man advances + toward girl in the couple on his L, while the central + dancers dance around each other. 2 measures. + + Take both hands of new partner and with feet together and + bodies stretched away from partner, heads flung back, swing + partner around in place. 4 measures. + + Repeat whole, using two-steps to return to original partner. + 8 measures. + + Men stand in place facing center of stage, with arms folded + and held high, watching the girls dancing around them. + + Girls with hands on hips dance around partners with 11 waltz + steps, starting R, and a pirouette L in front of partner. 4 measures. + + Girl pirouettes R in front of man, who holds position, then + man takes girl’s L hand in his L hand and lets her fall back + over his R arm, while she supports herself with her R foot + on the ground, her R knee bent and her L leg extended in the + air. 2 measures. + +As music ends, all exeunt laughing, singing and striking tambourines. + + +COSTUMES + +Girls: Short, bright-colored skirts and blouses; bare legs; scarfs tied +over the head; beads, earrings, bracelets, etc. + +Men: Long dark trousers, bright-colored shirts, and scarfs tied around +the hips. + + + + +A CHRISTMAS SERVICE + + +Time. Christmas Eve. + +Place. A dimly lighted hall or church. + +Persons in the Tableau. + + The Three Wise Men + A Shepherd + An Angel + Mary, Joseph and the Child + A group of singers in choir robes + +The Setting. A dark curtain background. + +The audience is seated in a dimly lighted hall, at the windows of +which long Christmas tapers are burning. When everything is still, +far outside in the distance “Adeste Fideles” is heard. The song comes +nearer. A group of singers dressed in choir robes enter and pass up +the center aisle, singing in a glad, spirited fashion. + + O come, all ye faithful, joyful and triumphant, + O come ye, O come ye to Bethlehem; + Come and behold Him born the King of Angels; + O come, let us adore Him, + O come, let us adore Him, + O come, let us adore Him, Christ the Lord. + +They group themselves in a semicircle in front of the stage, kneeling +as they sing the “Amen.” The lighted tapers which they carry throw a +lively, warm light on their young faces. + +The curtains part, revealing the tableau of the Three Wise Men, their +gifts of gold, frankincense and myrrh. They enter from the right and +slowly move across the stage toward a great light, singing. + + +_Tune: Traditional Melody_ + + We three Kings of Orient are, + Bearing gifts, we wander afar + Field and fountain, moor and mountain, + Following yonder star. + +The singers down in front sing the chorus: + + O star of wonder, star of might, + Star with royal beauty bright, + Westward leading, still proceeding, + Guide us to thy perfect light. + +The King bearing gold sings: + + Born a King on Bethlehem plain, + Gold I bring to crown Him again, + King for ever, ceasing never + Over us all to reign. + +The chorus chants: + + “O star of wonder” etc. + +The King bearing frankincense, sings: + + Frankincense to offer have I; + Incense owns a Deity nigh; + Prayer and praising all men raising, + Worship Him, God on high. + +Chorus chants the refrain: + + “O star of wonder” etc. + +The King bearing myrrh sings: + + Myrrh is mine; its bitter perfume + Breathes a life of gathering gloom: + Sorrowing, sighing, bleeding, dying, + Sealed in the stone-cold tomb. + +The chorus chants: + + “O star of wonder” etc. + +All three Kings sing: + + Glorious now behold Him arise, + King and God and Sacrifice; + Heaven sings Alleluia; + Alleluia, the earth replies. + +The chorus chants the refrain and the Three Wise Men go off to the left +in the direction from which the light came. The curtains close and +choir sings: + + +_Tune: Carol, by R. S. Willis_ + + It came upon the midnight clear, + That glorious song of old, + From angels bending near the earth + To touch their harps of gold. + “Peace on the earth, good-will to men, + From heaven’s all-gracious King,” + The world in solemn stillness lay, + To hear the angels sing. + +They swing from the “Amen” of this hymn to another old familiar one, +“While Shepherds Watched Their Flocks by Night.” The curtain rises, +revealing the tableau of the Shepherds. The persons in the picture +pantomime the action as the chorus sings the words. + + While shepherds watched their flocks by night, + All seated on the ground, + An angel of the Lord came down + And glory shone around. + And glory shone around. + + Fear not, said he, for trembling dread + Had seized their troubled minds, + Good tidings of great joy I bring + To you and all mankind. + To you and all mankind. + + To you in David’s town this day + Is born of David’s line, + A Savior who is Christ the Lord + And this shall be the sign. + And this shall be the sign. + +The curtains close on the “Amen.” The chorus sings: + + +_Tune: Old Traditional German Melody._ + + Silent night, holy night, + Darkness flies, all is light, + Shepherds hear the angels sing + Alleluia, hail the King, + Christ, the Saviour is here, + Jesus, the Saviour is here! + + Silent night, holy night, + Guiding star, lend thy light! + With the angels let us sing + Alleluia to our King, + Christ, the Saviour is here, + Jesus, the Saviour is here! + +After the “Amen” the chorus sings “Sleep, Holy Child,” as the curtain +rises on the tableau of the Nativity. + +_English version by Frederick H. Martens; tune: Old French Noël, +arranged by Herbert Tones._ + + Lying around the oxen mild, + Sleep, sleep, sleep, O Holy Child! + Round Thee as they wing, + Guardian angels sing, + Homage pay to Thee, + To infant love’s sweet King. + Sleep, sleep, sleep, O Holy Child! + + 2nd. Roses and lilies round Thee piled, etc. + + 3rd. Dreams by the shepherds’ song beguiled. + +The curtain closes as the chorus chants with bowed head the “Amen.” The +singers rise and turning toward the audience sing “Joy to the World.” + + +_Tune: Antioch._ + + Joy to the world! The Lord is come, + Let earth receive her King, + Let every heart prepare Him room, + And heaven and nature sing, + And heaven and nature sing, + And heaven, and heaven and nature sing. + + He rules the world with truth and grace. + And makes the nations prove + The glories of His righteousness + And wonders of His love, + And wonders of His love, + And wonders, and wonders of His love. + +The music changes to the same processional to which they entered. The +chorus, with lighted tapers held high, pass down the aisle and away, +singing as they go. + + +_Adeste Fideles._ + + Yea, Lord, we greet Thee, born this happy morning, + Jesus, to Thee be all glory given: + Word of the Father, now in flesh appearing: + O come, let us adore Him, + O come, let us adore Him, + O come let us adore Him, Christ the Lord. + +The “Amen” is heard way in the distance. The tableau is ended. + + +SETTING + +Across the width of the stage is a dark curtain which hangs in deep +folds. It opens in the center on a space wide and deep enough to stage +each of the three pictures. Across the back of this space there should +be a dark, midnight-blue, starry background against which each picture +is set. + + +DESCRIPTION OF THE PICTURES + +The Three Wise Men + +The first picture is of the Three Wise Men on their way to Bethlehem. +They are dressed in oriental robes and turbans. The first carries a +pot of gold; the second, a jeweled casket filled with frankincense; +the third, an incense holder filled with myrrh. As the curtains part, +they enter from the right. Their gaze is fixed on a great light which +streams from off-stage, left, on their upturned faces. They move slowly +across the stage and toward the light as they sing “We Three Kings of +Orient Are.” + +The Angel and the Shepherds + +The second picture is of the Shepherds watching their flocks by night. +When the curtains part, two shepherds are seated at the right of the +picture, half reclining against a rock. At their feet another lies +asleep. A little to the left-center of the picture, two others are +stretched on the ground. Suddenly there is a great light off-stage, at +the left, and an angel robed in white appears from the direction in +which the light comes. The shepherds sink back in fear and awe. The +angel raises her left hand in token of peace, and turning toward the +light, points with her right hand toward Bethlehem, where the Christ is +born. The shepherds gaze a moment and then start to rise and follow, as +the angel moves away in the direction of the light. + +The Nativity + +The last picture is the Nativity of the Manger. In the center sits Mary +bending over the Christ Child. Behind her stands Joseph. Kneeling in +front of her and a little to her left are the Three Wise Men, to her +right the same shepherds to whom the angel appeared. The Wise Man at +the extreme right of the picture stands with bowed head; the other two, +at his left, kneel, one with outstretched hands, the other with head +and shoulders bent low. At the extreme left of the picture a stalwart +shepherd leans upon his staff, his gaze fixed in wonder upon the Child. +At his right, one companion kneels; the others are prostrated on the +ground. All the light in the picture seems to radiate from the Child, +casting a beautiful radiance on the face of the Virgin. The figures +stand immovable, wrapped in worshipful awe, as the choir sings “Sleep, +Holy Child.” + + + + +Transcriber’s Note + +Perceived typographical errors have been changed. + + + +*** END OF THE PROJECT GUTENBERG EBOOK 77020 *** diff --git a/77020-h/77020-h.htm b/77020-h/77020-h.htm new file mode 100644 index 0000000..bd46977 --- /dev/null +++ b/77020-h/77020-h.htm @@ -0,0 +1,2598 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <title> + Ten Recreational Parties by Helen Durham | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .51em; + text-align: justify; + margin-bottom: .49em; +} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: 33.5%; + margin-right: 33.5%; + clear: both; +} + +hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} +@media print { hr.chap {display: none; visibility: hidden;} } + +div.chapter {page-break-before: always;} +h2.nobreak {page-break-before: avoid;} + +table { + margin-left: auto; + margin-right: auto; +} +.tdl {text-align: left; width: 70%;} +.tdl2 {text-align: left; padding-left: 1em; width: 30%;} + +.blockquot { + margin-left: 5%; + margin-right: 10%; +} + +.center {text-align: center;} + +.right {text-align: right;} + +.smcap {font-variant: small-caps;} + + +/* Footnotes */ +.footnotes {border: 1px dashed;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +/* Poetry */ +.poetry-container {display: flex; justify-content: center;} +.poetry-container {text-align: center;} +.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} +.poetry .stanza {margin: 1em auto;} +.poetry .verse {text-indent: -3em; padding-left: 3em;} + +/* Poetry indents */ +.poetry .indent0 {text-indent: -3em;} +.poetry .indent4 {text-indent: -1em;} +.poetry .indent6 {text-indent: 0em;} +.poetry .indent9 {text-indent: 1em;} + +/* American Girls */ + +.character {display: inline-block; width:40%} +.date {display: inline-block; width:10%} +.music {display: inline-block; width:40%} + +/* +.fr { float: right; + clear: right; + margin-left: 1em; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; + page-break-inside: avoid; + max-width: 100%; +} +*/ +.fr {float: right; clear: right;} +.x-ebookmaker .figright {float: right;} + + </style> +</head> +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 77020 ***</div> +<h1><i>Ten Recreational Parties</i></h1> + +<p class="center"><i>by</i></p> + +<p class="center">HELEN DURHAM</p> + +<p class="center">THE WOMANS PRESS<br> +600 LEXINGTON AVENUE<br> +NEW YORK, N. Y.</p> + + +<p class="center"><span class="smcap">Copyright, 1924, by<br> +Helen Durham</span> +</p> + +<p>This is a revised and amplified edition of <span class="smcap">Six Recreational +Parties</span>, by the same author. The last three are not parties, +strictly speaking, but suggestions for adding variety to larger +entertainments.</p> + +<p class="center"><span class="smcap">Printed in the United States of America</span></p> + +<p class="center"> + <a href="images/front.jpg"><img style="height:200px;" src="images/front.jpg" alt="Cover of Ten Recreational Parties by Helen Durham"></a> + <a href="images/backcover.jpg"><img style="height:200px;" src="images/backcover.jpg" alt="Back Cover"></a> +</p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> +</div> + + <p class="center"> + <a href="#FOREWORD"><span class="smcap">Foreword</span></a><br> + <a href="#A_PEANUT_PARTY"><span class="smcap">Peanut Party</span></a><br> + <a href="#A_NEWSPAPER_PARTY"><span class="smcap">Newspaper Party</span></a><br> + <a href="#BALLOON_PARTY"><span class="smcap">Balloon Party</span></a><br> + <a href="#DOLL_PARTY"><span class="smcap">Doll Party (Pantomime)</span></a><br> + <a href="#A_JAPANESE_PARTY"><span class="smcap">Japanese Party</span></a><br> + <a href="#COLONIAL_OR_WASHINGTONS_BIRTHDAY"><span class="smcap">George Washington Party</span></a><br> + <a href="#A_CIRCUS_PARTY"><span class="smcap">Circus Party</span></a><br> + <a href="#AN_ITALIAN_STREET_SCENE"><span class="smcap">Italian Street Scene</span></a><br> + <a href="#GYPSY_DANCE"><span class="smcap">Gypsy Scene</span></a><br> + <a href="#A_CHRISTMAS_SERVICE"><span class="smcap">Christmas Service</span></a><br> + </p> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="FOREWORD">FOREWORD</h2> +</div> + + +<p>As a recreational director under the War Work Council +of the National Board of the Young Womens Christian +Associations, I discovered that it was difficult to get +simple yet colorful recreational material suitable for the +various groups with whom I worked. Game parties, in +which straight games were played, became tiresome. +Each group, accustomed to the thrill of the movies, +sooner or later demanded something more exciting, so +I hit upon the plan of combining the most popular +games, featuring with them some simple property such +as balloons or newspapers, as an entire evening’s entertainment. +The Peanut, Newspaper and Balloon Parties +are the result of this experiment. Then, after a while, +the groups would want to take a more active part themselves. +The Japanese, Doll, George Washington and +Circus Parties are the outcome of this stage in my recreational +experience. These parties are more elaborate +than the first; in fact, they require a great deal of preparation +and cooperation on the part of the group. After +these came the demand for something still more colorful +and entertaining. Again I took something familiar, such +as a group of songs and dances, and combined them with +some idea of the dramatic, costumed and set them in a +suitable and attractive background. The result was +surprisingly effective in spite of the simplicity of the +material and the idea. The Italian Street Scene and +the Strolling Gypsy Scene are two examples of this type +of entertainment.</p> + +<p>The Christmas Service is an example of a still more elaborate +attempt at “recreational dramatics,” as one might +call this collection. The particular merit of the tableau +is that it is very simple to produce, yet very lovely, +if well done. The pictures themselves can be planned +and worked out before the tableau itself is put together. +In one or two rehearsals the music, chorus singing and +the pictures can be combined. If the performers themselves +catch the spirit of the occasion the effect of the +whole is very beautiful and impressive.</p> + +<p class="right"> +<span class="smcap">Helen Durham.</span><br> +</p> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="A_PEANUT_PARTY">A PEANUT PARTY</h2> +</div> + + +<p>In which peanuts are featured in a variety of old and new +ways.</p> + +<p><i>Invitations</i>: Carefully split a large-sized peanut and fold +inside a small piece of white Japanese tissue on which +the invitation is written. Tie the peanut together with +a narrow orange ribbon. Or write the invitation on an +orange-colored card and attach to it several round peanuts, +the shells of which have been grotesquely decorated +to represent tiny faces. The color, orange, is +suggested in the invitations, properties and decorations +only because it vividly contrasts with the neutral shade +of the peanut.</p> + +<p><i>Properties</i>: Upon arriving, the guests are given small +orange-colored paper or tarlatan bags in which they +may keep the peanuts won in the various games. At +the end of the party there is a final counting and the +person having the greatest number of peanuts in his +bag wins the prize.</p> + +<p><i>Note</i>: The games suggested need not be played in the following +order. This is one arrangement which has proved +satisfactory for both large and small groups. The first +three games are played at a table around which four or +six people sit. A bowl of peanuts and two or three hatpins +should be placed on each table before the game +starts.</p> + + +<h3>1. GUESSING GAME</h3> + +<p>At a given signal from the director, each person at the +table tries to guess the number of peanuts in the bowl. +After all the players have had their chance, the peanuts +are counted. The person who came nearest to the correct +number receives four peanuts as a reward, which +he keeps for the final counting. All the other peanuts +are returned to the bowl for the next game.</p> + + +<h3>2. PIERCING GAME</h3> + +<p>Each person is given a hatpin with which he tries to pierce +the peanuts in the bowl. He has three trials. All the +peanuts he pierces he may keep.</p> + + +<h3>3. GRABBING GAME</h3> + +<p>Each person in turn grabs all the peanuts he can hold in +his hand. After counting the number grabbed, he returns +all of them to the bowl and the next player tries +his grabbing capacity. The person grabbing the +largest number may keep that number of peanuts as a +reward.</p> + + +<h3>4. PEANUT RELAY</h3> + +<p>Chairs and tables are pushed aside and the players are +lined up for a relay race in two, three or four even lines, +depending upon the size of the crowd.</p> + +<p>Draw on the floor two chalk circles for each relay line, one +directly in front of each leader and another several +yards beyond, at the farther end of the room. Place +one peanut in each circle. At a given signal each +leader picks up, with a table knife, the peanut from the +circle directly in front of him and runs with it to the +circle at the other end of the room. He must then pick +up the peanut from that circle and carry it back to the +first circle. Then he touches off the next player in his +line, who tries to do the same stunt, that is, exchange +the peanuts from one circle to the other circle. The +winning line is the one which accomplishes this feat most +quickly. Each member of it gets three peanuts as a +reward; the line which finishes second gets two peanuts +each.</p> + + +<h3>5. PEANUT THROWING</h3> + +<p>From these relay lines swing into one big circle, with +hands joined.</p> + +<p>Place an empty waste-basket in the middle of the circle. +Give each player three peanuts. At a given signal each +player tries to throw his three peanuts into the basket. +Those that fall on the floor he loses. Those that land +in the basket he may reclaim. As a reward he receives +twice the number reclaimed.</p> + + +<h3>6. PEANUT PASSING</h3> + +<p>Line up two even groups facing each other with hands +joined. At a given signal each leader, the first person +in each line, picks up with his free hand as many peanuts +as possible from a large bag at his feet. He passes +them to the person next to him, who in turn passes +them to the person next to him, and so on. The person +at the very end of the line deposits them in a bag at his +feet. At the end of two or three minutes a signal from +the director ends the game. The peanuts passed by each +line are counted and the total amount is divided among +the players of the line which passed the greatest number +in the given time.</p> + +<p>Of course in passing the peanuts the players must not +unclasp hands. If a peanut is dropped, two people +with hands clasped must pick it up.</p> + + +<h3>7. PEANUT ALPHABET</h3> + +<p>Retain the players in the same formation as for the peanut +passing.</p> + +<p>Have two sets of cardboard letters which spell the word +“peanut.” Choose any twelve players, six from each +side. Line up these teams of six opposite each other. +Give a letter “p” to the first player on either side, a +letter “e” to the next one, and so on, so that each team +spells the word “peanut.” The director then calls off +a word like “net.” Each player who has the letter “n” +must step out in front of his team, holding up his letter +so it may be plainly seen by the director. The person +on that team holding the “e” must step out beside him, +and so on until the required word is formed. The team +that forms the words most quickly wins. As a reward +each member of the team and everyone on that side gets +a peanut. Use simple words like “pa,” “tune,” “pat,” +“pen,” “aunt,” “pun,” “ate,” “pan,” and finally the +word “peanut.”</p> + + +<h3>8. MUSICAL PEANUT</h3> + +<p>Let the crowd break up and seat themselves about the +room.</p> + +<p>Send someone out of the room. Give to any member of +the group a “musical peanut,” which is of course an +ordinary peanut. Explain to the group that when the +searcher enters, all must sing some popular song, +at first very softly, and then more loudly as the searcher +wanders in the vicinity of the musical peanut. The +searcher is then invited in and, guided by the song of +the group, tries to find the peanut. When the peanut +is found, the person holding the musical peanut becomes +the searcher.</p> + + +<h3>9. PEANUT BAGS</h3> + +<p>Before the guests arrive, paper bags containing various +numbers of peanuts are strung across the end of the +room, about eight feet from the floor. Give each player +three peanuts and line them all up about twenty or +twenty-five feet from the bags. At a given signal the +entire line tries to hit a bag. Each person has three +throws. He may have the contents of each bag he hits.</p> + +<div class="blockquot"> + +<p><i>Note</i>: It is usually necessary to leave someone near the line to cut +down the bags the moment they are won, otherwise there will be +much confusion.</p> +</div> + + +<h3>10. PEANUT HUNT</h3> + +<p>At a given signal the players scurry around, looking for +peanuts which have been hidden in all parts of the room. +Each player may keep all he finds.</p> + + +<h3>11. PEANUT PRIZE</h3> + +<p>After the players have counted the number of peanuts +won throughout the evening, have them march to music +around the room in a big circle. When the music stops, +those having less than fifteen peanuts drop out of the +circle. The marching continues until the music again +stops, when those having less than twenty-five peanuts +drop out, and so on until the person having the largest +number of peanuts stands alone. As a reward he is +given a grotesque doll made of peanuts.</p> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="A_NEWSPAPER_PARTY">A NEWSPAPER PARTY</h2> +</div> + + +<p>In which newspapers are featured in a variety of ways.</p> + +<p>Have the hostesses and guests, upon arriving, dress themselves +in newspaper costumes. All sorts of unique ideas +can be carried out, such as newspaper duncecaps, bonnets, +aprons, frills for collar and cuffs, pleated skirts. +It will be found that surprising originality and taste +will be shown by some. Have plenty of string, pins and +toothpicks at hand, for they will be needed to keep these +fragile creations in place. Open the party with a grand +march and have the judges immediately award the prize +for the cleverest newspaper costume.</p> + +<p>Have the players group themselves in a three, four or five +line formation, ready to play an adaptation of Bancroft’s +“Maze Game.”</p> + + +<h3>1. POLICEMAN AND NEWSBOY</h3> + +<p>The chaser, who carries a paper club, is called the “Policeman.” +The runner is called the “Newsboy.” Have the +players stand in parallel ranks with hands joined, +thereby making aisles through which the Policeman can +chase the Newsboy. When the director gives the order +“right face,” or “left face,” the players drop hands and +face in that direction, clasping hands with their new +neighbors. In this way new aisles are made which alter +the direction in which the Policeman is running and +which give the Newsboy a better opportunity of escape. +The director, who tries to keep the Policeman from +catching the Newsboy, must give his orders with alertness +and wisdom, so as to prevent the capture. Neither +Policeman nor Newsboy can break ranks or tag across +lines. It sometimes adds excitement if two Policemen +are used.</p> + + +<h3>2. PREFERRED NEWSPAPERS</h3> + +<p>This game is an adaptation of the familiar “Black and +White.”</p> + +<p>Line up the players in two even ranks down the center of +the floor, with their backs to each other. Call each side +after a popular local paper. At a given signal the director +shouts the name of either newspaper. The +players in the line bearing that name run frantically +to the side of the room toward which they are facing. +The players on the opposite side turn and try to catch +them. Those caught must go over to the other side. +The second line-up, uneven this time, proceeds in the +same way, awaiting the call of the director.</p> + + +<h3>3. MUSICAL NEWSPAPER</h3> + +<p>Divide the players again into the same even groups. This +game is an adaptation of the familiar “Musical Partners.”</p> + +<p>Every player takes a partner from his group, so that +each partner has the same newspaper name. They +march around the room to music. When the music +stops for a moment, everyone must change partners, +being sure that the new partner belongs to the same +paper. This necessitates hasty shifting and much +shouting of identification.</p> + + +<h3>4. NEWSPAPER RELAY</h3> + +<p>Line up the players in two or three even ranks, giving each +player two single sheets of newspaper. At a signal +from the director, the leaders race down to the opposite +goal and back again, stepping only on the sheets of +paper, which they lay on the floor as they progress. +The next player in line repeats the process after he is +touched off by the preceding player. The line which +finishes most quickly wins.</p> + + +<h3>5. PROTECT THE NEWSBOY</h3> + +<p>Adaptation of the familiar “Wolf and Hind.”</p> + +<p>The players form in a straight line with their hands around +the waist of the person ahead. At the very end of the +line stands the “Newsboy.” The chaser, called the +“Policeman,” faces the leader of the line and at a given +signal tries to catch the Newsboy. The line, however, +tries to keep itself between the Policeman and the Newsboy. +The players must hold on tightly to each other, +so as not to break the line, thereby enabling the Policeman +to dart through and get a better chance at the +Newsboy. When that Newsboy is caught he changes +places with the Policeman, who takes the place at the +head of the line. The new Policeman tries to catch the +person at the very end of the line, who has now become +the Newsboy.</p> + + +<h3>6. CATCH THE NEWSBOY</h3> + +<p>Adaptation of “Bird Cage.”</p> + +<p>Divide the players into groups of four. Three of each +group join hands in a circle and call themselves “Policemen;” +the fourth is called the “Newsboy.” Without +unclasping hands, the Policemen try to catch in their +ring the Newsboy, who may run anywhere in the room. +If he is caught he becomes a Policeman and one of the +Policemen takes his place.</p> + + +<h3>7. PREFERENCE OF LOCAL PAPERS</h3> + +<p>Adaptation of familiar “Jerusalem and Jericho.”</p> + +<p>The players are in circle formation. The director, who +stands in the center of the circle, takes a vote on which +of the two local papers the group prefers. The director +then explains that if he calls the name of the preferred +paper, everyone must repeat the name and bow, but if +he calls the name of the unpreferred paper, everyone +must repeat the name, but not bow. If anyone bows +after the name of the unpreferred paper is called, that +person must come into the center of the circle. The +director himself bows after both names, thereby trying +to get the other players to mimic him. The success of +the game depends largely upon the enthusiasm of the +director and his helpers.</p> + + +<h3>8. NEWSPAPER FIGHT</h3> + +<p>Blindfold any two players and give to each a club made of +newspapers folded lengthwise. Spread a newspaper on +the floor. At a signal from the director, each combatant +puts his left hand on this newspaper and with his paper +club in his right hand fights his opponent. Being blindfolded, +both quickly lose their sense of direction, so instead +of striking each other they usually strike the +floor. If there are several pairs, each cheered by their +followers, the game becomes very exciting.</p> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="BALLOON_PARTY">BALLOON PARTY</h2> +</div> + + +<p>Decorate the room with balloons, and perhaps crêpe paper +streamers. Upon arriving give every guest a crêpe +paper cap to which he may attach a balloon for decoration. +Give balloons as prizes for each game. All the +balloons which are used as prizes may be effectively used +as a central decoration in some such way as follows. Have +a large barrel hoop, bound with crêpe paper, suspended +from the ceiling in the center of the room. To this +attach by strings dozens of colored balloons. When a +person wins a balloon, give him one of these at once or +wait until all the games are over and the final score is +taken and then present the balloons as a final ceremony.</p> + + +<h3>1. BALLOON RELAY</h3> + +<p>Three or four strings should be stretched tightly from one +end of the room to the other, about four feet from the +floor. An ordinary brass ring hangs on each taut +string. To each of these rings attach a bright-colored +balloon.</p> + +<p>Divide the players into even groups, according to the +number of strings. Line them up at one end of their +respective strings. At a given signal, the leader of each +line starts blowing the balloon on his string down to the +other end of the room. After each leader has taken +his balloon down to the other end of the room, he runs +back to place and touches off the next player in line, +who runs down to the balloon and returns it to the original +place in the same fashion. The third player in line +then takes his turn, and so on. Of course no player +must touch the balloon with his hands. A balloon is +given as a reward to the player in each line who accomplishes +the feat most quickly.</p> + + +<h3>2. BALLOON TOSSING GAME</h3> + +<p>Keep the players in the same formation. Each group is +given a large sheet which they hold by the edges parallel +to the floor. At a given signal the director tosses a +balloon into the center of the sheet. Each team tries to +keep this balloon tossing in the air by moving the sheet +up and down. No one is allowed to touch the balloon +save the director. Even if it falls to the floor the director +must pick it up and put it back in place. The +group which keeps the balloon moving the greatest number +of minutes wins. Each player of that winning group +gets a balloon as a prize.</p> + + +<h3>3. MUSICAL BALLOON PARTNERS</h3> + +<p>Give each person a colored balloon, being careful that +there is an even number of each color. The two people +having the same color march together. An extra person, +who marches alone, is given a balloon of any of +the colors used. When the music stops, everyone must +quickly change partners, choosing a new one who carries +a balloon of the same color as his own. This gives the +extra person an opportunity to get a partner, who, +however, must carry a balloon of his color. When the +music again starts, the new person left without a partner +marches alone, waiting his chance to get a partner.</p> + + +<h3>4. BALLOON VOLLEY BALL</h3> + +<p>Stretch a piece of colored string across the room. The +object is the same as in volley ball, that is, to keep the +balloon off the floor on your own side and make it touch +the floor on your opponents’ side. Use either one or +two balloons, depending upon the number of players. +Of course use only the simplest rules of volley ball, thus +making the game suitable to play in the average room. +Each player on the winning side gets a balloon.</p> + + +<h3>5. BALLOON SNATCHING</h3> + +<p>A large balloon is placed on a chair, or preferably on a +small stool, anywhere on a line which is halfway between +two even lines of players. At a given signal a +player from each line walks forward to the balloon. +Each tries to snatch it and run back to his place without +letting his opponent touch him or the balloon. If he +arrives safely it counts one for his side. The next +two players then try the same stunt. After each pair +of players has tried the stunt, each member of the line +having the largest score gets a balloon.</p> + + +<h3>6. TABLE BALLOON</h3> + +<p>The players are seated at a table. The object of the +game is for each side to bat several balloons back and +forth without letting them drop on the table. If a side +fails to return the balloon while it is in midair, it counts +one against them. Players may rise to bat the balloon +when it is necessary but they must immediately sit down +again. Each player on the winning side gets a balloon.</p> + + +<h3>7. BALLOON DANCING</h3> + +<p>This introduces the game element into social dancing.</p> + +<p>Give to each person a colored balloon, being sure that +there is an even number of balloons of the same color. +Each dancer must find and dance with a partner with a +balloon of the same color. When the music stops, everyone +must find a new partner with a balloon of the same +color.</p> + +<p>Give to each couple a balloon. At a given signal all start +dancing, at the same time keeping their balloons tossing +in the air. If a balloon falls to the floor it counts +against that couple. The couples who keep their balloons +in constant motion throughout a dance receive a +balloon as a prize.</p> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="DOLL_PARTY">DOLL PARTY</h2> +</div> + + +<p>The invitations may be written on pieces of colored paper +cut in the shape of tiny dolls. Have the guests come to +the party dressed as dolls or children and the hostesses +as nursemaids.</p> + + +<h3>1. DOLL DRESSING CONTEST</h3> + +<p>Place the guests at small tables on which there are bits of +colored crêpe paper, scissors, string, pins, needles and +thread. Give everyone a tiny penny doll to dress. It +is a good plan to have on exhibition one or two dolls +already dressed in crêpe paper, to furnish ideas to the +guests. Very cleverly dressed dolls can always be +bought from the Dennison Company, 26th Street and +Fifth Avenue, New York. One of these makes an excellent +prize for the person who makes the best doll +costume. Usually people, whether old or young, if given +a few suggestions will enter into the spirit of the game +and the most ingenious and attractive creations will be +made.</p> + + +<h3>2. CHILDREN’S GAMES</h3> + +<p>Play the simple, familiar games such as “London Bridge” +or “Drop the Handkerchief,” “Going to Jerusalem” and +so on.</p> + + +<h3>3. MIDNIGHT IN THE DOLL SHOP</h3> + +<p>Entertain the guests by dramatizing some children’s story, +or staging a pantomime such as the following.</p> + + +<h4>Midnight in the Doll Shop<br> +A pantomime by Barbara Wellington.</h4> + +<p><i>Scene</i>: A doll shop with counters running along left wall, +back-stage and right.</p> + +<p><i>Characters</i>, from stage right to left:</p> + + +<ul><li>Right—Brownie, French Doll, Tin Soldier.</li> +<li>Back—Chinese, Indian, Jack-in-the-Box, Dinah, Golliwog, Dutch Girl.</li> +<li>Left—Two Rag Dolls.</li> +</ul> + +<p>The clock strikes twelve. Curtain opens on dolls lifeless +on counters, in characteristic attitudes. Brownie is +sitting cross-legged; the French doll is holding her skirt +and peeking up at the soldier; the soldier holds his gun, +stiffly; the Chinese has his arms folded, hands in sleeves; +the Indian stands with tomahawk raised; Jack is in his +box with cover shut; Dinah’s hands are on her hips; +Golliwog’s arm is around her; the Dutch doll has a pail +on her arm; the rag dolls lean limply against each other.</p> + +<p>All slowly come to life. Jack pops out of his box and goes +through jerky exercise. A dumb-bell drill may be used +(music 4-4 time). At the finish, Indian raises tomahawk +over Jack with threatening attitude. Jack pops +back into box; cover shuts. Indian does war-dance of +seeing enemy, giving war cry (silently), fighting battle, +and smoking peace-pipe.</p> + +<p>He ends by chasing the rag dolls down-stage and around to +the right and center, taking his place where they were. +The rag dolls do a limp dance exactly alike, leaning +against each other and flopping heavily at each step. +They finish by dropping down up-stage right, with feet +straight out before them.</p> + +<p>Jack-in-the-Box pantomimes clapping and the tin soldier +sends him into his box again by aiming his rifle. Then, +wound up by French doll, he marches forward stiffly to +center-stage. She works his arms and head and makes +him embrace her, then winds him up for dance step of +progressing across stage, toeing out with both feet, and +then in. She does a ballet dance kick-step as she watches +him. Finish off-stage.</p> + +<p>Golliwog and Dinah try to imitate them in the same positions +on stage, and burlesque the steps. They turn it +into an old-fashioned cake-walk and as they finish up-stage +right, Dinah waves her bandana and drops it.</p> + +<p>The Chinese doll shuffles forward and picks bandana up, +goes back to get his tub, scrubbing board and iron, and +proceeds to launder handkerchief, center-stage, facing +audience. He turns scrubbing board over for an ironing +board. Finishes, folds handkerchief and hands it to +Dinah with bow. Goes left.</p> + +<p>The Dutch doll comes forward, sees imaginary water +splashed onto the floor and holds up her hands in horror. +She gets pail, and kneeling, scrubs vigorously, +facing left center and then right, on knees in each new +position. Then, trying the floor with her sabot, she puts +away her pail and does a Dutch wooden shoe dance. +Finishes right.</p> + +<p>The Brownie, who has been mimicking everybody as he sat +on the counter, right, hops down and does a clown dance, +ending with a cartwheel, left.</p> + +<p>As each doll finishes his stunt he takes his place in a semicircle +at back-stage.</p> + +<p>All swing into dance. As orchestra sounds cock-crow, all +break line and scramble back to original places.</p> + +<p class="center"> +Tableau, as in the beginning.<br> +</p> + + +<h4><span class="smcap">Doll Dance</span></h4> + +<div class="blockquot"> + +<p>To the “Parade of the Wooden Soldiers” from the “Chauve Souris,” +published by Ed. B. Marks Music Company, 223 West 46th Street, +New York.</p> +</div> + +<h3>1. 8 measures.</h3> + +<p>Introduction—4 measures—dolls take places in line.</p> +<p><span style="margin-left: 1em;">(Omit 28 measures of music.)</span></p> + +<table> +<tr> +<td class="tdl">Starting R foot, kick in front, kick to side.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step R foot behind L, step L to side, step R in front and hold.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Repeat, starting L.</td> +<td class="tdl2">2 measures.</td> +</tr> +<tr> +<td class="tdl">Repeat, starting R.</td> +<td class="tdl2">2 measures.</td> +</tr> +<tr> +<td class="tdl">Repeat, starting L.</td> +<td class="tdl2">2 measures.</td> +</tr> +</table> + +<h3>2. 8 measures.</h3> + +<table> +<tr> +<td class="tdl">Point R heel forward, point R toe in back.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Take 3 short steps forward, starting R, and hold.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Repeat, starting L foot.</td> +<td class="tdl2">2 measures.</td> +</tr> +<tr> +<td class="tdl">Step back R and kick L.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back L and kick R.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back R and kick L.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back L and kick R.</td> +<td class="tdl2">1 measure.</td> +</tr> +</table> + +<p><span style="margin-left: 1em;">(Omit 4 measures of music.)</span></p> + +<h3>3. 16 measures</h3> + +<table> +<tr> +<td class="tdl">Whole line moves to R, toeing in and out, as follows: With + heels together and toes out, rise on R toe and L heel + and swing both feet to R so that toes are pointing in; + then step on R heel and L toe and swing feet to R so + that toes are pointing out again.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Repeat 7 times.</td> +<td class="tdl2">7 measures.</td> +</tr> +<tr> +<td class="tdl">Repeat, swinging feet to L instead of R so that line returns + to original position.</td> +<td class="tdl2">8 measures.</td> +</tr> +</table> + +<p><span style="margin-left: 1em;">(Omit 24 measures of music.)</span></p> + +<h3>4. 8 measures.</h3> +<p>Repeat 1.</p> + +<h3>5. 8 measures.</h3> +<p>Repeat 2.</p> + +<h3>Interlude. 4 measures.</h3> + +<table> +<tr> +<td class="tdl">With knees bent and feet together, jump on both feet, making one + half-turn to R.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Jump back to place.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Jump on both feet, making one half-turn to L.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Jump back to place.</td> +<td class="tdl2">1 measure.</td> +</tr> +</table> + +<h3>6. 8 measures.</h3> + +<table> +<tr> +<td class="tdl">Move to R with following step: Step R to side, step L, toe + beside R heel, step R to side, step L, toe beside R heel.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Repeat. (Keep R foot on floor and knees stiff, as though + being pushed by L foot.)</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Turn in place with same step.</td> +<td class="tdl2">2 measures.</td> +</tr> +<tr> +<td class="tdl">Move back to place with same step, using L foot and R toe.</td> +<td class="tdl2">2 measures.</td> +</tr> +<tr> +<td class="tdl">Turn in place with same step.</td> +<td class="tdl2">2 measures.</td> +</tr> +</table> + +<h3>7. 6 measures.</h3> + +<table> +<tr> +<td class="tdl">Step back R and kick L.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back L and kick R.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back R and kick L.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back L and kick R.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back R and kick L.</td> +<td class="tdl2">1 measure.</td> +</tr> +<tr> +<td class="tdl">Step back L and kick R.</td> +<td class="tdl2">1 measure.</td> +</tr> +</table> + +<h3>8. 8 measures.</h3> + +<table> +<tr> +<td class="tdl">With very small steps run to front of stage.</td> +<td class="tdl2">4 measures.</td> +</tr> +<tr> +<td class="tdl">Throw kisses to audience on all sides.</td> +<td class="tdl2">4 measures.</td> +</tr> +</table> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="A_JAPANESE_PARTY">A JAPANESE PARTY</h2> +</div> + + +<p>A Japanese Party may be made very attractive and picturesque +if Japanese costumes, properties and music are +featured.</p> + +<p>Write the invitations on Japanese paper fans and ask the +guests to come in Japanese costume. Light the room +with low-hanging Japanese lanterns and decorate it with +Japanese screens, hangings and flowers. Artificial +cherry blooms, which look surprisingly like the real +ones, can be made in the following way. Out of pale +pink French tissue paper cut little circles about one and +a half inches in diameter and make a pin hole in the +center of each circle. Slip these circles on bare +branches, creasing them around the branch so as to +give the effect of a budding blossom. The hostesses, +who are in Japanese costume, should preside over the +tea trays. Have the guests sit in small groups on the +floor and be served tea and rice cakes in Japanese fashion. +By way of entertainment the story of Puccini’s +opera, “Madame Butterfly,” can be told in some such +charming way as the following.</p> + + +<h3>THE STORY OF “MADAME BUTTERFLY”</h3> + +<p>A girl, dressed to represent Madame Butterfly, tells the +story of the opera while appropriate bits of the score +are being played.</p> + +<p>Use an end or corner of the room and decorate it to +represent a Japanese garden or interior. A Japanese +screen as a background, one or two low-hanging lanterns, +lighted, a rug and several vivid cushions on the +floor, some cherry blossoms or a low bowl of Japanese +flowers make a very suitable and effective setting. Madame +Butterfly, dressed in a pale gray or wisteria Japanese +kimono and brilliant obi (sash), enters with short, +pattering steps. She wears a chrysanthemum in her +hair and perhaps she carries a Japanese fan. She +kneels upon the cushions and bows in oriental fashion +to her audience. After the prelude to the opera, she +begins the tale of Madame Butterfly. The story must +be simply and vividly told, bringing out its pathos and +charm. When she finishes she bows again to the audience, +rises and makes her exit with the same little +pattering steps.</p> + +<p>Oriental bow: Kneel on both knees and bend directly forward +so that the head almost touches the ground; then +slowly assume an erect position.</p> + +<p>If the narrator can sing one or two selections from the +opera, especially the famous solo “One Fine Day,” of +course it adds tremendously. It is very important that +the music harmonize with the words, which necessitates +careful selection and practice. Probably only an accomplished +musician with a feeling for atmosphere can +successfully do this.</p> + +<p>The following song and dance can follow Madame Butterfly’s +story.</p> + + +<h3>JAPANESE SONG AND DANCE</h3> + +<p><span class="smcap">Music.</span> Geisha Dance, by Eduardo Marzo in “Dance +Songs of the Nations,” John Church Company, publishers, +New York. Words of the song by Margaret +Lacy.</p> + +<p>To be sung by the dancers themselves, or by one or more +soloists while the dancers go through the steps.</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">In a forest of Japan a pretty maple grew.</div> + <div class="verse indent0">She coquetted morn and even with the strong bamboo;</div> + <div class="verse indent0">Maidens hung on her their lanterns when they came to dance,</div> + <div class="verse indent0">And she watched with exultation each admiring glance.</div> + </div> + <div class="stanza"> + <div class="verse indent0">Then her leaves would gently whisper, nestling in the breeze,</div> + <div class="verse indent0">To the pretty maidens dancing there beneath the trees,</div> + <div class="verse indent0">“O! O! Dance, O pretty maidens, dance ye on the grass below,</div> + <div class="verse indent0">Forward bending, lightly swaying gently to and fro.</div> + <div class="verse indent0">Each of you will have a hero, loyal, brave and true,</div> + <div class="verse indent0">But not one will be more loyal than my strong bamboo.”</div> + </div> + <div class="stanza"> + <div class="verse indent0">When the bamboo heard her singing he was filled with glee</div> + <div class="verse indent0">And he nodded to the maple, so that she might see</div> + <div class="verse indent0">That he loved her very dearly and was worthy, too,</div> + <div class="verse indent0">Of the trust that she confided in her strong bamboo.</div> + </div> + <div class="stanza"> + <div class="verse indent0">And the maple peeping over saw his signal sweet,</div> + <div class="verse indent0">Sang again unto the maidens dancing at her feet.</div> + <div class="verse indent0">“O! O! Dance, O pretty maidens, dance ye on the grass below,</div> + <div class="verse indent0">Forward bending, lightly swaying gently to and fro.</div> + <div class="verse indent0">Each of you will have a hero, loyal, brave and true,</div> + <div class="verse indent0">But not one will be more loyal than my strong bamboo. O!”</div> + </div> +</div> +</div> + +<p>Stage this song and dance in the same setting that was +used for the Madame Butterfly story. Before the +dancers appear, place bright cushions, one for each +dancer, on the floor in a semicircle. Have eight or more +dancers enter from each side with little pattering Japanese +steps, take their places behind their cushions and +bow in oriental fashion to the audience. They are +dressed in bright-colored Japanese kimonos and sashes, +with chrysanthemums in their hair. Each carries a fan +which is held stiffly in front of her chest, with the forearm +pressed slightly against the body. The head is +held to the side in a prim little fashion such as one sees +in old Japanese prints. Every gesture is formal and +studied. (This is the Japanese pose referred to in the +dance.)</p> + + +<h3><span class="smcap">Japanese Dance</span></h3> + +<p>For the introduction any number of measures may be +played while the dancers enter and take their places.</p> + +<table> + <tr><th colspan="4"><i>Figure 1</i>—16 measures.</th></tr> + <tr><td colspan="4">Starting on the first word of the song, “In,” make the + following motions, keeping time with the music.</td></tr> + <tr><td>(a) Sway to the R side.</td><td>1 meas.</td><td rowspan="4"><img src="images/big_right_bracket.png" alt="Big Right Facing Bracket"></td><td rowspan="4">through word “grew.”</td></tr> + <tr><td>Sway to the L side.</td><td>1 meas.</td></tr> + <tr><td>Sway to the R side.</td><td>1 meas.</td></tr> + <tr><td>Body and head held erect.</td><td>1 meas.</td></tr> + <tr><td colspan="3"></td><td>4 measures.</td></tr> + + <tr><td colspan="4">(b) The same motions, but starting L, that is,</td></tr> + <tr><td>Sway to the L side.</td><td>1 meas.</td><td rowspan="4"><img src="images/big_right_bracket.png" alt="Big Right Facing Bracket"></td><td rowspan="4">through word “bamboo.”</td></tr> + <tr><td>Sway to the R side.</td><td>1 meas.</td></tr> + <tr><td>Sway to the L side.</td><td>1 meas.</td></tr> + <tr><td>Body and head held erect.</td><td>1 meas.</td></tr> + <tr><td colspan="3"></td><td>4 measures.</td></tr> + + <tr><td colspan="3">Repeat through word “glance.”</td><td>8 measures.</td></tr> + + <tr><td colspan="3"><i>Interlude—Japanese pose.</i></td><td>4 measures.</td></tr> + + <tr><th colspan="4"><i>Figure 2</i>—16 measures.</th></tr> + + <tr><td colspan="3">Walk with the quick little Japanese pattering steps + described above around the cushions to R, coming + back to place on word “below.”</td><td>4 measures.</td></tr> + <tr><td colspan="3">Repeat (b) of Figure 1 through word “fro.”</td><td>4 measures.</td></tr> + <tr><td colspan="3">Walk in the same fashion as above around cushions to + L, coming back to place on word “true.”</td><td>4 measures.</td></tr> + <tr><td colspan="3">Repeat (b) of Figure 1 through word “bamboo.”</td><td>4 measures.</td></tr> + + <tr><th colspan="3"><i>Interlude—Japanese pose.</i></th><td>4 measures.</td></tr> + + <tr><th colspan="4"><i>Figure 3</i>—16 measures.</th></tr> + + <tr><td colspan="3">Repeat (a) of Figure 1 through word “glee.”</td><td>4 measures.</td></tr> + <tr><td>Nod head slowly forward.</td><td>1 meas.</td><td rowspan="3"><img src="images/big_right_bracket.png" alt="Big Right Facing Bracket"></td><td rowspan="3">through word “see.”</td></tr> + <tr><td>Raise head slowly.</td><td>1 meas.</td></tr> + <tr><td>Repeat.</td><td>2 meas.</td></tr> + <tr><td colspan="3"></td><td>4 measures.</td></tr> + + <tr><td colspan="3">Repeat (b) of Figure 1, through word “too.”</td><td>4 measures.</td></tr> + <tr><td colspan="3">Same nodding motion repeated twice, through word “bamboo.”</td><td>4 measures.</td></tr> + + <tr><th colspan="3"><i>Interlude—Japanese pose.</i></th><td>4 measures.</td></tr> + + <tr><th colspan="4"><i>Figure 4</i>—8 measures.</th></tr> + + <tr><td colspan="3">Repeat (a) of Figure 1, through word “sweet.”</td><td>4 measures.</td></tr> + <tr><td colspan="3">Repeat (b) of Figure 1, through word “feet.”</td><td>4 measures.</td></tr> + + <tr><td colspan="4"><i>Interlude</i>—All dancers kneel slowly forward and down + on both knees without losing balance or bending body, + and slowly sit back on their heels in oriental + fashion.</td></tr> + + <tr><th colspan="4"><i>Figure 5</i>—16 measures.</th></tr> + + <tr><td colspan="3">Repeat (a) of Figure 1, through word “below.”</td><td>4 measures.</td></tr> + <tr><td colspan="3">Repeat nodding motion of Figure 3, through word “fro.”</td><td>4 measures.</td></tr> + <tr><td colspan="3">Repeat (b) of Figure 1, through word “true.”</td><td>4 measures.</td></tr> + <tr><td>Turn head slowly to R side.</td><td>1 meas.</td><td rowspan="3"><img src="images/big_right_bracket.png" alt="Big Right Facing Bracket"></td><td rowspan="3">through word “bamboo.”</td></tr> + <tr><td>Turn head slowly to L side.</td><td>1 meas.</td></tr> + <tr><td>Hold head, face forward.</td><td>2 meas.</td></tr> + <tr><td colspan="3"></td><td>4 measures.</td></tr> +</table> + +<p>As the dancers sing the prolonged “O” of the last two +measures they bend their bodies forward so that their +heads almost touch the floor. Repeat the music until +they rise and exit with the same little pattering steps.</p> + + +<h3>PANTOMIME OR PLAY</h3> + +<p>“Cat Fear,” a fanciful Japanese comedy in pantomime by +Marion N. Gleason,<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[A]</a> or any other Japanese play or +pantomime, may be added in order to make a complete +evening’s entertainment.</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> + +<p><a id="Footnote_1" href="#FNanchor_1" class="label">[A]</a> The Womans Press. Price 50 cents. Royalty of $5.00; $2.50 to +Y.W.C.A. groups.</p> + +</div> +</div> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="COLONIAL_OR_WASHINGTONS_BIRTHDAY">COLONIAL OR WASHINGTON’S BIRTHDAY +PARTY</h2> +</div> + + +<p>The guests are invited to come in Colonial costumes. The +host should be dressed to represent George Washington; +the hostess, Martha Washington. Feature these two +people as much as possible in the receiving line, as +leaders of the minuet and grand march, and as master +and mistress of the ceremonies throughout the evening. +When it is time for the program to begin, have George +Washington himself announce that he is going to present +to his guests all the various types of American +girls who live or will live in this country.</p> + +<p>The music then swings into a plaintive Indian tune and +an Indian girl dressed in a striking costume of brown +leather enters. She bows to George Washington, to his +lady and to his guests and passes down the center of the +room and away. George Washington then announces +that a Puritan girl will be presented next. The music +changes to “Auld Lang Syne,” and a lovely girl in +Puritan costume enters, bows shyly to her host and +passes in a demure manner down the center of the room. +A Colonial girl and her escort come next. They dance +the minuet for the guests. One by one the various types +of girls who have lived in this country present themselves. +The program can be made elaborate or simple, depending +upon the number of characters used. The modern +American girls may be omitted or others substituted, +according to occasion. Those suggested are described +below in detail. If one wishes to add others, see the +Fashion Review, “Down Petticoat Lane,” published by +The Womans Press, from which the idea of this party +has been taken.</p> + + +<h3>AMERICAN GIRLS</h3> + +<div><span class="character"><i>Character</i></span><span class="date"> </span> +<span class="music"><i>Music</i></span> +</div> + +<div><span class="character"><span class="smcap">American Indian Girl</span></span><span class="date">1500</span> +<span class="music">“The Chattering Squaw”</span> +</div> + +<p>Striking brown Indian costume, beaded and fringed; brown +stockings, leather moccasins, and beaded head-band with +bright red feather at the back. Stands at opening in +characteristic Indian pose, head up, body erect, arms +folded across chest. Comes down room with familiar +Indian loping step, bows to guests and exits.</p> + +<div><span class="character"><span class="smcap">Puritan Girl</span></span><span class="date">1650</span> +<span class="music">“Auld Lang Syne” +</span> +</div> + +<p>Simple gray Puritan costume; white cap, kerchief, cuffs +and apron, white stockings and black shoes.</p> + +<p>Bows shyly to the audience, walks forward with hands +demurely clasped, makes a quaint courtesy to George +Washington and exits.</p> + +<div><span class="character"><span class="smcap">Colonial Girl and Man</span></span><span class="date">1750</span> +<span class="music">Mozart’s Minuet from “Don Juan” +</span> +</div> + +<p>Girl in Colonial costume of bright satin: tight bodice, lace +kerchief, pannier skirt; white stockings, black pumps +with silver buckles; powdered hair or wig.</p> + +<p>Gentleman in brocade or satin coat, vest, ruffled stock and +frill, knee breeches, white stockings, black pumps with +Colonial buckles, and powdered wig.</p> + +<p>They enter together, bowing to each other, then to audience, +and come to the center of the room. They dance +the Colonial minuet,<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[B]</a> and exit at farther end of the +room.</p> + +<div><span class="character"><span class="smcap">Empire Girl and Partner</span></span><span class="date">1800</span> +<span class="music">“Glow Worm”</span> +</div> +<p>Girl in high-waisted costume of Empire period: short, +puffed sleeves, neck cut low off shoulders, long train; +poke bonnet of satin to match gown, either worn or +carried by streamers; high-heeled satin slippers to +match gown; hair parted and done high in back with +curls at each side.</p> + +<p>Gentleman in tight-fitting satin trousers, satin coat of +darker color, brocaded vest, ruffled stock and high silk +hat.</p> + +<p>They enter and dance Gavotte.</p> + +<div><span class="character"><span class="smcap">Hoopskirt Girl</span></span><span class="date">1850</span> +<span class="music">“Believe Me, If All Those Endearing Young Charms”</span> +</div> +<p>Girl in wide, old-fashioned hoopskirt costume; tight +basque, lace kerchief, ruffled pantalettes, poke bonnet, +white lace mitts and small parasol.</p> + +<p>Gentleman in light broadcloth trousers, long-tailed coat, +plain double-breasted vest of a contrasting color, high +stock, high silk hat and burnsides.</p> + +<p>They stroll in together. When they reach the center of +the room the music changes to Jump Jim Crow from +“Maytime” by Victor Herbert. The man sings the song +to the girl and they dance together.<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[C]</a></p> + +<div><span class="character"><span class="smcap">Bustle Girl</span></span><span class="date">1875</span> +<span class="music">“When Johnnie Comes Marching Home Again”</span> +</div> +<p>Girl in old-fashioned bustle costume of silk: long full skirt +with very stiff petticoats underneath, tight bodice, leg-o’-mutton +sleeves; elaborately trimmed hat of the period, +perched high on the head; black silk mitts and parasol.</p> + +<p>She enters with quick steps, courtesies to host and hurries +down the room.</p> + +<div><span class="character"><span class="smcap">Southern Girl</span></span><span class="date"> </span> +<span class="music">“Dixie”</span> +</div> +<p>Girl in light, ruffled dress and large floppy leghorn hat +covered with flowers. She carries a ruffled parasol and +flowers in her arms.</p> + +<p>She enters, smiling left and right, courtesies in a rather +flirtatious manner, presents a flower to her host and +saunters down the room.</p> + +<div><span class="character"><span class="smcap">Western Girl</span></span><span class="date"> </span> +<span class="music">“Cheyenne”</span> +</div> +<p>Girl in short khaki riding skirt and blouse, red handkerchief +around neck, broad-brimmed western hat, high +boots, belt and pistol.</p> + +<p>She dashes in, waves hat to the audience and to host and +rushes out through audience.</p> + +<div><span class="character"><span class="smcap">Debutante and Dancing Partner</span></span><span class="date"> </span> +<span class="music">Any popular waltz</span> +</div> +<p>Lovely girl in dance frock; stockings and evening slippers +to match. Carries a bouquet of flowers.</p> + +<p>Enters with partner as if entering a ballroom and bows +to the host. They dance some of the latest steps.</p> + +<div><span class="character"><span class="smcap">Modern Gym Girl</span></span><span class="date"> </span> +<span class="music">Any suitable music</span> +</div> +<p>Girl of athletic type in gym costume of dark blue bloomers, +white middy, black tie, black stockings and white +sneakers.</p> + +<p>She carries a basket ball which she dribbles down to center +of room.</p> + +<div><span class="character"><span class="smcap">Evening Girl</span></span><span class="date"> </span> +<span class="music">Any popular song</span> +</div> +<p>Tall striking-looking girl in handsome evening gown +with stockings and slippers to match; bright velvet +evening wrap with handsome fur collar. Carries huge +black ostrich fan.</p> + +<p>She enters with great poise and assurance, displays her +gown like a manikin and exits down the center.</p> + +<div><span class="character"><span class="smcap">Bride and Her Attendants</span></span> +<span class="date"> </span> +<span class="music">Wedding March from “Lohengrin”</span> +</div> + +<p>Beautiful girl in white satin bridal gown with long court +train and white tulle veil caught with orange blossoms. +Carries huge shower bouquet of white roses and lilies-of-the-valley.</p> + +<p>Attendants in organdie dresses of pastel shades; tarlatan +hats to match gown; small nosegays of pink roses.</p> + +<p>Bridesmaids enter by twos, followed by the bride. The +wedding procession passes down the center to the end of +the room, where the bridesmaids group themselves in a +semicircle around the bride. The other performers +enter and come forward to congratulate the bride. The +music changes to a march. George Washington gives +the bride his arm and together they lead everyone, performers +and guests, in a grand march. At the close of +the march George Washington may make a little speech +to the guests, saying that he hopes everyone has enjoyed +his party and that they will come again next year to +help him celebrate his birthday.</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> + +<p><a id="Footnote_2" href="#FNanchor_2" class="label">[B]</a> For description of dance see “Ten Timely Dances,” The Womans Press.</p> + +</div> + +<div class="footnote"> + +<p><a id="Footnote_3" href="#FNanchor_3" class="label">[C]</a> “Ten Timely Dances,” The Womans Press.</p> + +</div> +</div> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="A_CIRCUS_PARTY">A CIRCUS PARTY</h2> +</div> + + +<p>A Circus Party may be made just as elaborate or just as +simple as one wishes. If one is planning to give an +elaborate affair, detailed suggestions can be found in +“A Circus,” published by the Womans Press.<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[D]</a> The +following plan has been worked out to meet the demands +of those who wish to give a rather simple circus party.</p> + +<p>A typical circus barker stands at the outer door. In +professional lingo he invites the guests to come inside. +“Ladies and gentlemen, right this way, right this way! +The cleverest collection of comical characters that ever +came to town! Right this way, ladies and gentlemen, +right this way! Nothing finer in the world! Don’t fail +to see it. Right this way!”</p> + +<p>The room in which the circus is held should be decorated +to look like a circus tent, if possible. Stretch a piece of +old canvas across the ceiling so that it gives the effect of +a tent roof. At each end of the room arrange booths +where refreshments are served. Pink lemonade and ice-cream +cones should be in one, and perhaps “hot dogs” +in another. Have peanuts distributed by venders +throughout the crowd. Try to arrange all sorts of side +shows. Display in one the freaks, such as the armless +woman, an Albino, the dog-faced boy, the bearded lady, +the tallest man in the world and others of Barnum and +Bailey fame. Be sure that there is a good barker to +“ballyhoo” them and to point out the peculiarities of +each. Have one or two fortune-telling booths, perhaps +a Gypsy palmist and a Turkish crystal gazer.</p> + +<p>All sorts of throwing contests can be arranged to attract +and amuse the crowd. For instance, in one booth have +a row of cocoanuts suspended from the ceiling on strings. +Give everyone three chances at hitting a cocoanut. If +anyone succeeds he may keep the cocoanut as a prize. +Or have a broken china booth where each person may +take three chances at breaking any bit of crockery he +wishes.</p> + +<p>Or a game known as “Hoop-la” amuses people immensely. +In the center of a roped-off ring place several prizes on +small blocks of wood. The object of this game is to +ring these blocks with ordinary embroidery hoops, which +should exactly fit over the blocks. The person who +throws a hoop so that it circles the block completely, +gets the prize on that block.</p> + +<p>Or have a tub or watering trough full of water, on which +small shallow dishes are floating. The object of the +game is to throw coins onto these dishes. The money +that lands in the dish is doubled and returned to the +person but any which falls in the water he loses. (Of +course this game should not be played if the party is an +invitation affair.)</p> + +<p>A dart contest is always popular. Tack at the back of a +booth a pack of playing cards. Give each player five +small wooden darts with a sharp point in the end of +each. The object of the game is to hit with these darts +three cards of the same kind, that is, three Jacks or +three Queens. If a player hits the three cards of the +same kind in five trials he is given a pack of playing +cards as a prize. Such games always attract people, +especially if at each booth there is a lively barker who +will amuse the crowd and keep things going.</p> + +<p>To add atmosphere have all sorts of comical circus characters +wander through the audience—clowns, a rube and +his wife, a big fat Irish policeman, Charlie Chaplin, Sis +Hopkins and others. Let them play all sorts of tricks +on each other and on the crowd. Have balloon and confetti +venders everywhere, dressed in bright costumes.</p> + + +<h3>THE BIG SHOW</h3> + +<p>Of course no circus party can be complete without a Big +Show. This also may be made just as simple or as +elaborate as one wishes. Suggestions for a few acts are +briefly described. If one wishes to give a more elaborate +program, detailed directions can be found in “A Circus” +mentioned above.</p> + +<p>Stage the Big Show in the center of the floor and have the +audience stand or sit around this ring. Use the barker +who stood at the entrance as the ringmaster. In the +most extravagant professional lingo he should announce +each act, pointing out its marvels. There should be a +band to help create the circus atmosphere. If a real +band cannot be had, a kazoo or a vocophone jazz band +makes an excellent substitute. Vocophones are papier-mâché +instruments the size and shape of regular band +instruments but made in such a way that by blowing +or humming through the mouthpiece a most melodious +and voluminous sound comes forth. They may be +purchased from A. Schoenhut Company, Hagert and +Sepviva Streets, Philadelphia, Pennsylvania, eight instruments +for twelve dollars. Kazoos, small musical +mouthpieces, are only a few cents apiece. Dress the +musicians themselves in regular brass-buttoned uniforms +such as bandmen usually wear, or dress them as a colored +minstrel group with white duck suits, huge bright-colored +ties and blackened faces. They should lead the +parade and play the piano whenever such type of music +is needed.</p> + + +<h3>PROGRAM</h3> + +<p><span class="smcap">The Parade.</span></p> + +<p>All the performers used in the circus should enter, headed +by the ringmaster, who leads his group around the ring +several times and out through the opposite exit. First +comes a jazz band followed by the clowns, who prance +from side to side tormenting the other performers and +doing all sorts of queer antics for the crowds. The +freaks should follow them, and then the wild animals, +led by their animal trainer, the acrobats, the jugglers, +bareback riders and the rest of the circus outfit. After +the parade the ringmaster may detain the freaks in the +ring to display the peculiarities of each.</p> + +<p><span class="smcap">Animals.</span></p> + +<p>If you can rent or make any animal costumes, be sure to +have an animal act. It always amuses the audience if +it is cleverly and realistically done. Have the ringmaster, +who acts as animal trainer, put the animals +through all sorts of stunts. He should have a long +whip which he snaps vigorously as he shouts his orders. +The lion and the tiger may play ball with each other, +keeping up a constant roar as they toss the ball back +and forth. The polar bear may ride a bicycle, the +monkeys may have a boxing match. The act may be +ended by having all the animals dance around on their +hind legs to some lively fox-trot music.</p> + +<p><span class="smcap">Clowns.</span></p> + +<p>Be sure to have a clown stunt. Use all sorts of clowns, +tall and short, fat and thin. Have some of them do +some tumbling or pyramid stunts, familiar to any gym +instructors, and have others mimic them in a ridiculous +fashion. They may end the act with a dance.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[E]</a></p> + +<p>The other numbers on the program can be any special +stunts that lend themselves to circus burlesque. Two +others from “A Circus” have been included below to +show the type of thing which is always popular at a +circus and which will not take any special time or work +in preparation.</p> + + +<h3>JATO, THE JAPANESE JUGGLER</h3> + +<p class="center">Judged to Have the Jump on All Jugglers.</p> + +<p>The act should be performed by two people who are able +to put a lot of burlesque into it and play it successfully +to the gallery. Jato, the juggler, dressed in Japanese +kimono, balances his Japanese wife on his upturned +feet. Of course she merely sits on his feet, balancing +herself with the tips of her toes safely on the floor, but +bowing and smiling as though it were a most difficult +stunt. Then, with the aid of an invisible wire suspended +from the ceiling, Jato balances such articles as chairs +and tables on his nose. He must hook them cleverly to +the loop end of the wire, as he arranges them in place, +so that for a time the audience is in ignorance of how +he does the trick. Finally, Jato carelessly leaves an +object hanging in midair and thus discloses his secret. +His wife quickly snatches it away as he bows to the +amused audience. The old trick of lifting a supposedly +heavy weight, which is finally allowed to bounce on the +floor, may be included in this act.</p> + + +<h3>DAISY, THE DARING AND DAZZLING TIGHT ROPE +WALKER</h3> + +<p class="center">Displaying Unrivaled Skill and Recklessness.</p> + +<p>A tight rope stunt can be worked out by one, or even two +girls, dressed in fluffy tarlatan costumes with tight +bodices and short full skirts. Stretch a rope tightly +across the floor. On it the performer makes her way +across the ring, going through all the gestures and balancing +movements of a real rope walker while the orchestra +plays very melodramatic music. When she +reaches the center, have the music stop while she makes +a daring turn, presumably in midair. The orchestra +starts up again with a bang. Of course there is much +applause from the audience. She may even dance along +the rope, finishing her stunt with a quick pirouette turn +and a dainty jump to the floor. With many elaborate +bows to the audience and to the ringmaster she leaves +the ring.</p> + +<p>As a finale have all the performers prance around the ring +several times to lively music, throwing confetti and serpentine +at the audience. This procession will make a +very gay and appropriate ending for the Big Show.</p> + +<p>Be sure that everything pertaining to your evening’s entertainment +is gay, colorful and circus-like. Try to +have the audience and performers catch the spirit of +fun and jollity that makes a circus party go.</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> + +<p><a id="Footnote_4" href="#FNanchor_4" class="label">[D]</a> “A Circus,” The Womans Press. Price 50 cents.</p> + +</div> + +<div class="footnote"> + +<p><a id="Footnote_5" href="#FNanchor_5" class="label">[E]</a> “Ten Timely Dances,” The Womans Press. Price 50 cents.</p> + +</div> +</div> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="AN_ITALIAN_STREET_SCENE">AN ITALIAN STREET SCENE</h2> +</div> + + +<p><i>Note</i>: This is a side show or interlude in a larger entertainment +rather than a party in the usual sense of the +word.</p> + +<p>The setting is a gay, sunny Italian street or corner in the +market place. Across the center-back is a fruit stand +piled high with vegetables and fruits and bunches of +hanging bananas. At one side is a two-wheeled pushcart; +at the other, a wooden bench. When the curtain +goes up everything suggests the happy, lazy activity of +an Italian street on a bright summer day. The fat, good-natured +looking fruit dealer, in gay peasant costume, is +selling vegetables to a chattering peasant woman who +carries a huge basket on her arm. A handsome Italian +youth lounging on the bench is being persuaded by a +pretty Italian flower girl to buy her flowers. “Fiori, +belli fiori, un soldo al’uno” (Flowers, flowers, one cent +apiece), she urges. He feigns amused indifference and +goes on smoking his cigarette. An Italian boy, sitting +on the floor against the wheel of the pushcart, is playing +a harmonica, utterly oblivious to his surroundings. An +old bent-over vender, pushing his cart across the back +of the stage, cries, “Tomati, potati, e pepperone +freschi” (Tomatoes, potatoes and fresh peppers). Two +pretty Italian girls stroll by.</p> + +<p>This action goes on in pantomime until way in the distance +“O Sole Mio” can be heard. The boy with his harmonica +stops his playing and runs in the direction from +which the music comes. The music grows nearer and a +group of strolling Italian street musicians enter. They +are dressed in the bright costumes of the troubadour +type. Some of them are playing stringed instruments. +The singers carry tambourines. One of the girls in the +group, who is evidently a dancer, catches sight of the +handsome Italian youth and goes over toward him. Two +peasant girls who chance to be passing by stop and watch +her. The fruit dealer, his customer and several other +passers-by stop and listen to the music. From “O Sole +Mio” it changes into the well-known solo from “Il Trovatore,” +“Oh, I Have Sighed to Rest Me,” sung by one of +the men in the group. Without a pause, two others, a +man and a woman, sing the duet from the same opera, +“Home to Our Mountains.”</p> + +<p>The crowd applauds with great enthusiasm, and the +music begins again in a gayer strain. “Fickle Is Woman,” +from “Rigoletto,” is sung with spirit. The men sing +the first line, the women the next, and so on, alternating, +until the last refrain, “Borne on the Breezes,” which is +sung together. From that they swing into “Finiculi, +Funicula,” which pleases the crowd immensely. The +music changes to a lively Italian dance rhythm. The +dancer who has been trying to attract the attention of +the Italian youth strikes her tambourine and dances a +wild, spirited dance, without taking her eyes off him. +She ends the dance with several fast turns down-stage, +stopping directly in front of him. The crowds applaud, +the youth rises and together they dance the Tarantella +to gay Tarantella music. Some of the singers and +several of the onlookers join them, dancing and singing +“La Peppinetta.” They dance round and round in a +glad carefree fashion, laughing and throwing flowers at +each other.</p> + +<p>The music swings back into “Finiculi, Funicula,” which +everyone sings and applauds wildly. The musicians +collect their pennies from the crowd and start off, singing +“O Sole Mio,” the song with which they entered. +Some of the crowd follow, others wander off. The +Italian youth watches the dancer for a minute and then +resumes his lazy pose on the bench. The music grows +fainter and fainter in the distance. The peasant woman +continues her bargaining with the fruit dealer. The boy +takes his place by the pushcart and goes on playing his +harmonica. Gradually the street resumes its accustomed +lazy atmosphere, which had been interrupted for +a moment by a group of strolling players.</p> + + +<h3>LA PEPPINETTA</h3> + +<p>From “Songs of Italy,” collected by Marzo, published by +Schirmer, New York.</p> + +<p>Milan (Lombardy). Sung by the group or by the dancers.</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Italian: Che bel moffin la Peppinetta!</div> + <div class="verse indent0">English: What a sweet face has Peppinetta!</div> + </div> + <div class="stanza"> + <div class="verse indent4">Corpa de dia, vui fagh l’amor!</div> + <div class="verse indent4">Body o’ me, if she were only mine!</div> + </div> + <div class="stanza"> + <div class="verse indent4">La la lie-ra la la la lie-ra la la la la la la la la la la!</div> + <div class="verse indent6">la la lie-ra la la la lie-ra la la la la la la la la la la!</div> + </div> + <div class="stanza"> + <div class="verse indent4">Che cara tosa allegra, scetta,</div> + <div class="verse indent4">She is a dear, I cannot forget her,</div> + </div> + <div class="stanza"> + <div class="verse indent4">L’eona bellezza, l’èon ver te-sor!</div> + <div class="verse indent4">Lively, and lovely, truly divine!</div> + </div> + <div class="stanza"> + <div class="verse indent4">La la lie-ra la la la lie-ra la la la la la la la la la la!</div> + <div class="verse indent6">la la lie-ra la la la lie-ra la la la la la la la la la la!</div> + </div> + <div class="stanza"> + <div class="verse indent4">Se o-na quei volta su quel moffin,</div> + <div class="verse indent4">If any time I dare to do it,</div> + </div> + <div class="stanza"> + <div class="verse indent4">Podess mo fagh quel che vui mi,</div> + <div class="verse indent4">What I would like to, on her face,</div> + </div> + <div class="stanza"> + <div class="verse indent4">Mi ghe faria on bel basin,</div> + <div class="verse indent4">With a warm kiss I’ll venture to woo it,</div> + </div> + <div class="stanza"> + <div class="verse indent4">Che no desideri de pu d’insci!</div> + <div class="verse indent4">And I shall wish no more and no less!</div> + </div> + <div class="stanza"> + <div class="verse indent9">(Repeat last two lines twice.)</div> + </div> + <div class="stanza"> + <div class="verse indent4">D’insci, d’insci, d’insci, d’insci!</div> + <div class="verse indent4">No less, no less, no less, no less!</div> + </div> + <div class="stanza"> + <div class="verse indent4">La la lie-ra la la la lie-ra la la la la la la la</div> + <div class="verse indent6">la la la la la la lie-ra la la la lie-ra la la la</div> + <div class="verse indent6">la la la la la la la la la la la la la la la la!</div> + </div> +</div> +</div> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="GYPSY_DANCE">GYPSY DANCE</h2> +</div> + + +<p>This dance is arranged for four or more couples, a solo +dancer and her partner. To be effective it must be +staged with the proper Gypsy atmosphere and the +larger the group the better. Have the Gypsies seated +and lying around the stage in a rough circle. When the +curtain rises they are talking, laughing and humming +songs. Almost instantly a Gypsy man enters, dragging +after him a Gypsy maid, whom he throws into the center +of the circle. The captive gradually raises her head +and, seeing the curious gaze of the group around her, +decides to win them by her dancing. As the music starts +and she begins to dance, some of the Gypsies in the +group take up tambourines and play them in time to +the music; others sway back and forth or hum snatches +of the tune.</p> + +<p><span class="smcap">Music.</span> Danse de la Gipsy, by C. Saint-Saëns, from the +Opera “Henry VIII.”</p> + +<table style="width: 100%"> +<tr> +<td class="tdl"><span class="smcap">Introduction.</span> Rise to standing position with hands on hips.</td> +<td class="tdl2">2 measures.</td> +</tr> +</table> + +<p><span class="smcap">Steps.</span></p> + +<table> + <tr><th colspan="4"><i>Figure 1</i>—16 measures.</th></tr> + <tr><td rowspan="3">(a)</td> + <td rowspan="3"><img src="images/big_left_bracket.png" alt="Big Left Facing Bracket"></td> + <td>Starting with R foot, run 5 steps toward one group of Gypsies.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td>Step forward on L foot, step backward on R foot and drag L foot back to R toe.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td>Turn and repeat whole toward another group of Gypsies.</td> + <td class="tdl2">2 measures.</td> + </tr> + + <tr> + <td rowspan="5">(b)</td> + <td rowspan="5"><img src="images/big_left_bracket.png" alt="Big Left Facing Bracket"></td> + <td>Step with R foot and make half-turn toward R, count 1.</td><td></td> + </tr> + <tr><td>Step with L foot and make half-turn toward R, count 2.</td><td></td></tr> + <tr><td>Step with R foot and make half-turn toward R, count 3.</td><td></td></tr> + <tr><td>Step with L foot and make half-turn toward R, count 4.</td><td></td></tr> + <tr> + <td>Hold position, standing on L foot with R foot extended + at side and head flung back, looking over R shoulder, counts + 5 and 6.</td> + <td class="tdl2">1 measure.</td> + </tr> + + <tr> + <td colspan="3">Repeat (b) twice.</td> + <td class="tdl2">2 measures.</td> + </tr> + <tr> + <td colspan="3">Hold final position and swing R arm in arch in front of + body and out to R at shoulder height.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td colspan="3">Repeat (a) and (b), bringing feet together at end of final + measure.</td><td></td> + </tr> + + <tr> + <th colspan="4"><i>Figure 2</i>—18 measures.</th> + </tr> + <tr> + <td colspan="4">Progress around circle, keeping back to center, with following + step, hands on hips.</td> + </tr> + + <tr><td rowspan="2">(a)</td> + <td rowspan="2"><img src="images/big_left_bracket.png" alt="Big Left Facing Bracket"></td> + <td>Step L foot diagonally across R, bending both knees.</td><td></td> + </tr> + <tr> + <td>Step R foot back and to the side, step L foot behind + R, step R to the side.</td><td></td> + </tr> + + <tr><td colspan="3">Repeat 8 times.</td> + <td class="tdl2">3 measures.</td> + </tr> + <tr> + <td colspan="3">(b) Step to R and pirouette with arms circling overhead.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td colspan="3">(c) Repeat (a).</td> + <td class="tdl2">3 measures.</td> + </tr> + + <tr> + <td rowspan="2">(d)</td> + <td rowspan="2"><img src="images/big_left_bracket.png" alt="Big Left Facing Bracket"></td> + <td>Run 5 steps, starting L, toward one of the groups of + Gypsies. Step forward on R foot and hold R hand + out as though in supplication.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td>Repeat 3 times, advancing toward a different group + each time.</td> + <td class="tdl2">3 measures.</td> + </tr> + + <tr> + <td colspan="3">Repeat (a) for one measure.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td>(e)</td> + <td><img src="images/big_left_bracket.png" alt="Big Left Facing Bracket"></td> + <td>Step L foot across R, bend L knee and extend R foot + at side, then sweeping R arm across body in circle, + raise body to standing position with feet together.</td> + <td class="tdl2">1 measure.</td> + </tr> + + <tr> + <td colspan="3">Repeat (e).</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td colspan="3">Repeat (a) in double time.</td> + <td class="tdl2">3 measures.</td> + </tr> + <tr> + <td colspan="3">Pirouette in center of stage with arms circling overhead + and pose with feet together, arms stretched out overhead + and head flung back.</td> + <td class="tdl2">1 measure.</td> + </tr> + + <tr><th colspan="4"><i>Figure 3</i>—34 measures.</th></tr> + <tr><td rowspan="2">(a)</td> + <td rowspan="2"><img src="images/big_left_bracket.png" alt="Big Left Facing Bracket"></td> + <td>Step R foot to side, bring L foot to R heel, change + weight to L foot, change weight to R foot. (This + should be done on the toes with a slight bend in the knees.)</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr><td>Repeat to L.</td> + <td class="tdl2">1 measure.</td> + </tr> + + <tr> + <td rowspan="4">(b)</td> + <td rowspan="4"><img src="images/big_left_bracket.png" alt="Big Left Facing Bracket" style="height:8em"></td> + <td>4 mazurkas, starting R.</td> + <td class="tdl2">2 measures.</td> + </tr> + <tr> + <td><div class="blockquot">Mazurka: Slide R foot diagonally forward R; + bring L foot up to R heel and step on it, raising + R knee high with R foot pointing down at L knee.</div> + </td><td></td> + </tr> + <tr> + <td>Step forward R and hold with L foot at R heel, counts 1 and 2.</td><td></td> + </tr> + <tr> + <td>Step back on L foot, count 3. Drag L foot back to + position in front of R toe and then place weight on + L foot, counts 4, 5, 6.</td> + <td class="tdl2">1 measure.</td> + </tr> + + <tr> + <td colspan="4"> + <table style="width: 100%;"> + <tr> + <td style="width: 50%;">Step back L, dragging R foot to position.<br> + Step back L, dragging R foot to position.</td> + <td style="width: 20%;"><img src="images/big_right_bracket.png" alt="big right bracket" style="height:3em"></td> + <td class="tdl2">1 measure.</td> + </tr> + </table> + </td> + </tr> + + <tr> + <td rowspan="4">(c)</td> + <td rowspan="4"><img src="images/big_left_bracket.png" alt="big left bracket" style="height:8em"></td> + <td>Pirouette L, hands circling over head, and hold pose, + standing with weight on L foot, L hand on hip and + R arm extended over head.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr><td> (An experienced dancer may substitute a leap-turn + for the pirouette.)</td><td></td> + </tr> + <tr> + <td>Pirouette R and pose.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td>Pirouette L and pose, swinging R arm across body + and back to position over head.</td> + <td class="tdl2">2 measures.</td> + </tr> + <tr> + <td colspan="3">Repeat (b) through (c) three times.</td> + <td class="tdl2">24 measures.</td> + </tr> + + <tr><th colspan="4"><i>Figure 4</i>—12 measures.</th></tr> + + <tr><td rowspan="2">(a)</td> + <td rowspan="2"><img src="images/big_left_bracket.png" alt="big left bracket" style="height:8em"></td> + <td>Hold final position of Figure 3 for 2 counts, then drop + on R knee, with body and head turned toward R + and bent over R knee and L leg extended straight + out behind. L arm swung back following line of L + leg, count 3. Rise to standing position through 3 + counts of music, swinging R arm forward and over head.</td> + <td class="tdl2">1 measure.</td> + </tr> + + <tr> + <td>Repeat to L.</td><td class="tdl2">1 measure.</td> + </tr> + + <tr> + <td rowspan="3">(b)</td> + <td rowspan="3"><img src="images/big_left_bracket.png" alt="big left bracket" style="height:8em"></td> + <td>Hold 2 counts in standing position, replacing hand on hip.</td><td></td> + </tr> + <tr><td>With 5 two-steps forward, starting R, progress in a + small circle around stage.</td><td></td> + </tr> + <tr><td><div class="blockquot">Note: The two-steps should be done with the knees + slightly bent and a swaying motion from side to side.</div></td> + <td class="tdl2">2 measures.</td></tr> + + <tr> + <td colspan="3">Repeat (a) and (b).</td> + <td class="tdl2">4 measures.</td> + </tr> + + <tr><td rowspan="3">(c)</td> + <td rowspan="3"><img src="images/big_left_bracket.png" alt="big left bracket" style="height:8em"></td> + <td>Step R and pirouette, 2 counts.</td><td></td> + </tr> + <tr><td>With 20 large steps, starting R, run around circle, + keeping back to center.</td><td></td> + </tr> + <tr><td>Step R in center of stage and pirouette, ending with + arms stretched out over head, and head flung back,</td> + <td class="tdl2">4 measures.</td></tr> + + <tr><th colspan="4"><i>Figure 5</i>—22 measures.</th></tr> + <tr> + <td colspan="3">Four couples jump up from the group and take places in + four corners of a square around the solo dancer. Man + joins solo dancer as her partner for this step. This + action must be spontaneous, as though the solo dancer + had excited the rest so that they could no longer keep + still.</td><td></td> + </tr> + <tr> + <td colspan="3">The girls stand with their backs to the center of the circle. + The weight is on the L foot and the R foot is extended + toward partner. The R hand clasps partner’s R hand, + the L arm is flung straight up over head.</td><td></td> + </tr> + <tr> + <td colspan="3">The men stand facing the center of the circle in the same + position as the girls.</td><td></td> + </tr> + <tr> + <td colspan="3">The solo dancer and her partner take the same position as + the rest of the group, standing in the center of the stage.</td><td></td> + </tr> + <tr> + <td colspan="3">Hold position for 2 counts, then, swinging L arm down at + side and keeping R hands joined, exchange places with + partner with 4 running steps, starting R.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td colspan="3">Repeat back to place.</td> + <td class="tdl2">1 measure.</td> + </tr> + <tr> + <td colspan="3">Hold original position for 2 counts, then, placing hands + on hips, with 5 two-steps, starting R, each girl advances + toward the man in the couple on her L, each man advances + toward girl in the couple on his L, while the + central dancers dance around each other.</td> + <td class="tdl2">2 measures.</td> + </tr> + <tr> + <td colspan="3">Take both hands of new partner and with feet together and + bodies stretched away from partner, heads flung back, + swing partner around in place.</td> + <td class="tdl2">4 measures.</td> + </tr> + <tr> + <td colspan="3">Repeat whole, using two-steps to return to original partner.</td> + <td class="tdl2">8 measures.</td> + </tr> + + <tr> + <td colspan="3">Men stand in place facing center of stage, with arms folded + and held high, watching the girls dancing around them.</td><td></td> + </tr> + <tr> + <td colspan="3">Girls with hands on hips dance around partners with 11 + waltz steps, starting R, and a pirouette L in front of + partner.</td> + <td class="tdl2">4 measures.</td> + </tr> + <tr> + <td colspan="3">Girl pirouettes R in front of man, who holds position, then + man takes girl’s L hand in his L hand and lets her fall back + over his R arm, while she supports herself with her R foot on + the ground, her R knee bent and her L leg extended in the air.</td> + <td class="tdl2">2 measures.</td> + </tr> + <tr> + <td colspan="3">As music ends, all exeunt laughing, singing and striking + tambourines.</td><td></td> + </tr> +</table> + +<h3>COSTUMES</h3> + +<p>Girls: Short, bright-colored skirts and blouses; bare legs; +scarfs tied over the head; beads, earrings, bracelets, etc.</p> + +<p>Men: Long dark trousers, bright-colored shirts, and scarfs +tied around the hips.</p> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<h2 class="nobreak" id="A_CHRISTMAS_SERVICE">A CHRISTMAS SERVICE</h2> +</div> + + +<p><span class="smcap">Time.</span> Christmas Eve.</p> + +<p><span class="smcap">Place.</span> A dimly lighted hall or church.</p> + +<p><span class="smcap">Persons in the Tableau.</span></p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">The Three Wise Men</div> + <div class="verse indent0">A Shepherd</div> + <div class="verse indent0">An Angel</div> + <div class="verse indent0">Mary, Joseph and the Child</div> + <div class="verse indent0">A group of singers in choir robes</div> + </div> +</div> +</div> + +<p><span class="smcap">The Setting.</span> A dark curtain background.</p> + +<p>The audience is seated in a dimly lighted hall, at the windows +of which long Christmas tapers are burning. When +everything is still, far outside in the distance “Adeste +Fideles” is heard. The song comes nearer. A group +of singers dressed in choir robes enter and pass up the +center aisle, singing in a glad, spirited fashion.</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">O come, all ye faithful, joyful and triumphant,</div> + <div class="verse indent0">O come ye, O come ye to Bethlehem;</div> + <div class="verse indent0">Come and behold Him born the King of Angels;</div> + <div class="verse indent0">O come, let us adore Him,</div> + <div class="verse indent0">O come, let us adore Him,</div> + <div class="verse indent0">O come, let us adore Him, Christ the Lord.</div> + </div> +</div> +</div> + +<p>They group themselves in a semicircle in front of the +stage, kneeling as they sing the “Amen.” The lighted +tapers which they carry throw a lively, warm light on +their young faces.</p> + +<p>The curtains part, revealing the tableau of the Three Wise +Men, their gifts of gold, frankincense and myrrh. They +enter from the right and slowly move across the stage +toward a great light, singing.</p> + + +<h3><i>Tune: Traditional Melody</i></h3> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">We three Kings of Orient are,</div> + <div class="verse indent0">Bearing gifts, we wander afar</div> + <div class="verse indent0">Field and fountain, moor and mountain,</div> + <div class="verse indent0">Following yonder star.</div> + </div> +</div> +</div> + +<p>The singers down in front sing the chorus:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">O star of wonder, star of might,</div> + <div class="verse indent0">Star with royal beauty bright,</div> + <div class="verse indent0">Westward leading, still proceeding,</div> + <div class="verse indent0">Guide us to thy perfect light.</div> + </div> +</div> +</div> + +<p>The King bearing gold sings:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Born a King on Bethlehem plain,</div> + <div class="verse indent0">Gold I bring to crown Him again,</div> + <div class="verse indent0">King for ever, ceasing never</div> + <div class="verse indent0">Over us all to reign.</div> + </div> +</div> +</div> + +<p>The chorus chants:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“O star of wonder” etc.</div> + </div> +</div> +</div> + +<p>The King bearing frankincense, sings:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Frankincense to offer have I;</div> + <div class="verse indent0">Incense owns a Deity nigh;</div> + <div class="verse indent0">Prayer and praising all men raising,</div> + <div class="verse indent0">Worship Him, God on high.</div> + </div> +</div> +</div> + +<p>Chorus chants the refrain:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“O star of wonder” etc.</div> + </div> +</div> +</div> + +<p>The King bearing myrrh sings:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Myrrh is mine; its bitter perfume</div> + <div class="verse indent0">Breathes a life of gathering gloom:</div> + <div class="verse indent0">Sorrowing, sighing, bleeding, dying,</div> + <div class="verse indent0">Sealed in the stone-cold tomb.</div> + </div> +</div> +</div> + +<p>The chorus chants:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“O star of wonder” etc.</div> + </div> +</div> +</div> + +<p>All three Kings sing:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Glorious now behold Him arise,</div> + <div class="verse indent0">King and God and Sacrifice;</div> + <div class="verse indent0">Heaven sings Alleluia;</div> + <div class="verse indent0">Alleluia, the earth replies.</div> + </div> +</div> +</div> + +<p>The chorus chants the refrain and the Three Wise Men +go off to the left in the direction from which the light +came. The curtains close and choir sings:</p> + + +<h3><i>Tune: Carol, by R. S. Willis</i></h3> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">It came upon the midnight clear,</div> + <div class="verse indent0">That glorious song of old,</div> + <div class="verse indent0">From angels bending near the earth</div> + <div class="verse indent0">To touch their harps of gold.</div> + <div class="verse indent0">“Peace on the earth, good-will to men,</div> + <div class="verse indent0">From heaven’s all-gracious King,”</div> + <div class="verse indent0">The world in solemn stillness lay,</div> + <div class="verse indent0">To hear the angels sing.</div> + </div> +</div> +</div> + +<p>They swing from the “Amen” of this hymn to another old +familiar one, “While Shepherds Watched Their Flocks +by Night.” The curtain rises, revealing the tableau of +the Shepherds. The persons in the picture pantomime +the action as the chorus sings the words.</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">While shepherds watched their flocks by night,</div> + <div class="verse indent0">All seated on the ground,</div> + <div class="verse indent0">An angel of the Lord came down</div> + <div class="verse indent0">And glory shone around.</div> + <div class="verse indent0">And glory shone around.</div> + </div> + <div class="stanza"> + <div class="verse indent0">Fear not, said he, for trembling dread</div> + <div class="verse indent0">Had seized their troubled minds,</div> + <div class="verse indent0">Good tidings of great joy I bring</div> + <div class="verse indent0">To you and all mankind.</div> + <div class="verse indent0">To you and all mankind.</div> + </div> + <div class="stanza"> + <div class="verse indent0">To you in David’s town this day</div> + <div class="verse indent0">Is born of David’s line,</div> + <div class="verse indent0">A Savior who is Christ the Lord</div> + <div class="verse indent0">And this shall be the sign.</div> + <div class="verse indent0">And this shall be the sign.</div> + </div> +</div> +</div> + +<p>The curtains close on the “Amen.” The chorus sings:</p> + + +<h3><i>Tune: Old Traditional German Melody.</i></h3> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Silent night, holy night,</div> + <div class="verse indent0">Darkness flies, all is light,</div> + <div class="verse indent0">Shepherds hear the angels sing</div> + <div class="verse indent0">Alleluia, hail the King,</div> + <div class="verse indent0">Christ, the Saviour is here,</div> + <div class="verse indent0">Jesus, the Saviour is here!</div> + </div> + <div class="stanza"> + <div class="verse indent0">Silent night, holy night,</div> + <div class="verse indent0">Guiding star, lend thy light!</div> + <div class="verse indent0">With the angels let us sing</div> + <div class="verse indent0">Alleluia to our King,</div> + <div class="verse indent0">Christ, the Saviour is here,</div> + <div class="verse indent0">Jesus, the Saviour is here!</div> + </div> +</div> +</div> + +<p>After the “Amen” the chorus sings “Sleep, Holy Child,” as +the curtain rises on the tableau of the Nativity.</p> + +<h3><i>English version by Frederick H. Martens; tune: Old +French Noël, arranged by Herbert Tones.</i></h3> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Lying around the oxen mild,</div> + <div class="verse indent0">Sleep, sleep, sleep, O Holy Child!</div> + <div class="verse indent0">Round Thee as they wing,</div> + <div class="verse indent0">Guardian angels sing,</div> + <div class="verse indent0">Homage pay to Thee,</div> + <div class="verse indent0">To infant love’s sweet King.</div> + <div class="verse indent0">Sleep, sleep, sleep, O Holy Child!</div> + </div> + <div class="stanza"> + <div class="verse indent0">2nd. Roses and lilies round Thee piled, etc.</div> + </div> + <div class="stanza"> + <div class="verse indent0">3rd. Dreams by the shepherds’ song beguiled.</div> + </div> +</div> +</div> + +<p>The curtain closes as the chorus chants with bowed head +the “Amen.” The singers rise and turning toward the +audience sing “Joy to the World.”</p> + + +<h3><i>Tune: Antioch.</i></h3> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Joy to the world! The Lord is come,</div> + <div class="verse indent0">Let earth receive her King,</div> + <div class="verse indent0">Let every heart prepare Him room,</div> + <div class="verse indent0">And heaven and nature sing,</div> + <div class="verse indent0">And heaven and nature sing,</div> + <div class="verse indent0">And heaven, and heaven and nature sing.</div> + </div> + <div class="stanza"> + <div class="verse indent0">He rules the world with truth and grace.</div> + <div class="verse indent0">And makes the nations prove</div> + <div class="verse indent0">The glories of His righteousness</div> + <div class="verse indent0">And wonders of His love,</div> + <div class="verse indent0">And wonders of His love,</div> + <div class="verse indent0">And wonders, and wonders of His love.</div> + </div> +</div> +</div> + +<p>The music changes to the same processional to which they +entered. The chorus, with lighted tapers held high, pass +down the aisle and away, singing as they go.</p> + + +<h3><i>Adeste Fideles.</i></h3> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">Yea, Lord, we greet Thee, born this happy morning,</div> + <div class="verse indent0">Jesus, to Thee be all glory given:</div> + <div class="verse indent0">Word of the Father, now in flesh appearing:</div> + <div class="verse indent0">O come, let us adore Him,</div> + <div class="verse indent0">O come, let us adore Him,</div> + <div class="verse indent0">O come let us adore Him, Christ the Lord.</div> + </div> +</div> +</div> + +<p>The “Amen” is heard way in the distance. The tableau is +ended.</p> + + +<h3>SETTING</h3> + +<p>Across the width of the stage is a dark curtain which hangs +in deep folds. It opens in the center on a space wide and +deep enough to stage each of the three pictures. Across +the back of this space there should be a dark, midnight-blue, +starry background against which each picture is +set.</p> + + +<h3>DESCRIPTION OF THE PICTURES</h3> + +<h4>The Three Wise Men</h4> + +<p>The first picture is of the Three Wise Men on their way +to Bethlehem. They are dressed in oriental robes and +turbans. The first carries a pot of gold; the second, +a jeweled casket filled with frankincense; the third, an +incense holder filled with myrrh. As the curtains part, +they enter from the right. Their gaze is fixed on a great +light which streams from off-stage, left, on their upturned +faces. They move slowly across the stage and +toward the light as they sing “We Three Kings of +Orient Are.”</p> + +<h4>The Angel and the Shepherds</h4> + +<p>The second picture is of the Shepherds watching their +flocks by night. When the curtains part, two shepherds +are seated at the right of the picture, half reclining +against a rock. At their feet another lies asleep. A +little to the left-center of the picture, two others are +stretched on the ground. Suddenly there is a great +light off-stage, at the left, and an angel robed in white +appears from the direction in which the light comes. +The shepherds sink back in fear and awe. The angel +raises her left hand in token of peace, and turning toward +the light, points with her right hand toward +Bethlehem, where the Christ is born. The shepherds +gaze a moment and then start to rise and follow, as the +angel moves away in the direction of the light.</p> + +<h4>The Nativity</h4> + +<p>The last picture is the Nativity of the Manger. In the +center sits Mary bending over the Christ Child. Behind +her stands Joseph. Kneeling in front of her and a little +to her left are the Three Wise Men, to her right the +same shepherds to whom the angel appeared. The Wise +Man at the extreme right of the picture stands with +bowed head; the other two, at his left, kneel, one with +outstretched hands, the other with head and shoulders +bent low. At the extreme left of the picture a stalwart +shepherd leans upon his staff, his gaze fixed in wonder +upon the Child. At his right, one companion kneels; +the others are prostrated on the ground. All the light +in the picture seems to radiate from the Child, casting +a beautiful radiance on the face of the Virgin. The +figures stand immovable, wrapped in worshipful awe, as +the choir sings “Sleep, Holy Child.”</p> + +<div class="chapter"> +<hr> +<p class="center">Transcriber’s Note</p> + +<p class="center">Perceived typographical errors have been changed.</p> +</div> + +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 77020 ***</div> +</body> +</html> + diff --git a/77020-h/images/backcover.jpg b/77020-h/images/backcover.jpg Binary files differnew file mode 100644 index 0000000..d1553f9 --- /dev/null +++ b/77020-h/images/backcover.jpg diff --git a/77020-h/images/big_left_bracket.png b/77020-h/images/big_left_bracket.png Binary files differnew file mode 100644 index 0000000..b75932e --- /dev/null +++ b/77020-h/images/big_left_bracket.png diff --git a/77020-h/images/big_right_bracket.png b/77020-h/images/big_right_bracket.png Binary files differnew file mode 100644 index 0000000..ce6eb7c --- /dev/null +++ b/77020-h/images/big_right_bracket.png diff --git a/77020-h/images/cover.jpg b/77020-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..02dbbf9 --- /dev/null +++ b/77020-h/images/cover.jpg diff --git a/77020-h/images/front.jpg b/77020-h/images/front.jpg Binary files differnew file mode 100644 index 0000000..7de5018 --- /dev/null +++ b/77020-h/images/front.jpg diff --git a/77020-h/images/titlepage.jpg b/77020-h/images/titlepage.jpg Binary files differnew file mode 100644 index 0000000..e358c2e --- /dev/null +++ b/77020-h/images/titlepage.jpg diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..b5dba15 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This book, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this book outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..5ccc258 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for book #77020 +(https://www.gutenberg.org/ebooks/77020) |
