diff options
Diffstat (limited to '77020-0.txt')
| -rw-r--r-- | 77020-0.txt | 1823 |
1 files changed, 1823 insertions, 0 deletions
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 *** |