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operetta/f son* Wr tes with
of directions^ enthusiasm
Her amatenr Performers.
Presentation ar are °I ° authoritative perett ? st “dy and be
f 8 «»e of her 0Wn extended experience
*» opera.
swtable for high operettas
schools and clubs
nl^ Pared A “ additional and approved by
costume-dance S list «f
S ° ng8 ’ Which ia ^e
case 6r op erettas
tute tute th« the second half may consti¬
has also been JT de> f „ 801,1 *i,„ the Program, will
be sent fw 6 application
Armstrong m Mus,c 10 William
eator r ft ,Ck Buildin Ed'tor, The Delin
City EnH S- New York
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.
of^mateM 1 n ° musical “° re delightful entertainment .^form
than dil?ft the e f etta Nor wil1
any ' there he
erettas rettas J 111 fi,| ding charming f op
f for presentation. Very
of these qUally many
Derfnrm Performance f by either appropriate for
school organizations. club or high
are for instance, In th's class
eraian and American-Indian Japanese, Chinese,
in which the operet
e , picturesqueness costuming heightens
of effect. There
are fantastic operettas, both poetical
and humorous in type; spectacular
erettas; and op¬
operettas that are what
is termed, professionally, straight
comedy in character. Beyond these and
more suitable for general club per
ormance, there is the romantic oper¬
etta with a love-story as its plot.
In the instance of clubs, musical
and social enjoyment constitute the
strongest interest in operettas; cn the
other hand their presentation is un¬
doubtedly a source of culture and de¬
velopment. In the case of high
schools, I feel that if the educational
value of such performances were fully
realized, every institution of this
kind would have its operetta organi¬
zations.
It is a mistaken idea that no kind
of stage training is useful except for
those intending to become profession¬
als. There are certain things that
can be learned more quickly and more
thoroughly by preparing for and tak¬
ing part in public presentations than
in any other way. Take, for exam
pie, clear enunciation in speaking as
required in the operetta dialog; de¬
velopment of ease and freedom in
bodily movement through acting; the
mastery of thought concentration to
the point that one remembers only
what one is doing and how one is do¬
ing it to the exclusion of self-con¬
sciousness.
Two more advantages brought by
operetta singing must be alluded to:
Development of the imagination and
improvement in breathing. Any doc-
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tor will tell you that comparatively a
to their lungs’ capacity. Any traihed
musician will tell you that lio sing
effectively and artistically, singers
must breathe, as it were, from their
very toes. None can ring out and fill
a hall with melody without using
their lungs to capacity.
To act well without imagination is
impossible. One must catch every
point in a role and make the most of
it, otherwise one will merely walk
through the part. With experience
in studying the author’s words for his
full meaning, and inventing detail in
action that those words suggest,
comes a deeper appreciation in all
reading, for one will then oftener
look beneath the surface.
Acting is not a sealed mystery. In¬
stead, it is the art of realizing what a
character really means, how it would
do things it is bidden to do in certain
situations, and then to go ahead and
<Jo them.
To act well without imagination is
impossible. One must catch every
point in a role and make the most of
it, otherwise one will merely walk
through |the part, With experience
in studying the author’s 1 words for
his full meaning and inventing detail
in action that those words suggest,
comes a deeper appreciation in all
reading, for one will then oftener look
beneath the surface.
Acting is not a sealed mystery. In¬
stead, it is the hrt of realizing what a
character really means, how' it would
do things it is bidden to do in certain
situations, and - then to go ahead and
do them.
In learning a role in operetta I
would advise you first to read through
the libretto very carefully, both dialog
and stage directions. Study not only
your own part, but every other one
in the piece. Then you will begin to
find out your special place in the
picture. Where several characters
are on the stage at once each is de¬
pendent upon the other; all are im¬
portant, all must work together, as
in life, to produce an impression cf
reality.
If I study a new role portraying
a historical personage, I get all the
pictures I can of the woman I am to
represent; from these I select designs
for the costumes. For the far more
important undertaking, the character¬
ization of the role, I read biographies
of that person that I may know her
temperament, how she did things her¬
self, even to the way she walked. If
the character happens to be a ficti¬
tious one, I study the manners, cus¬
toms and dress of the times in which
she is supposed to have lived.
Of course, in studying operetta, no
such exhaustive research is required
as for opera, nevertheless a certain
amount of it is absolutely necessary.
If, for instance, you are giving the
part of Betsy Ross, the maker of the
American flag, and have only a single
song to do, you can make yourself
a real and outstanding figure in the
knowledge of the dignified, courtly
manner of the Colonial period; the
freedom from haste in movement, the
well-modtklated voice.
The operetta of a racial type, whose
book tells a Persian, Japanese, Chi¬
nese, or American-Indian story, should
be made as nearly as possible a true
picture. Ao do a role properly in
such operettas, it is wise to read
books about the people whom you
Would impersonate, to study their
manners, dress and social customs.
This knowledge' will give you many
ideas for detail in action.
In operetta of the fantastic de
,
scription greater leeway is given to
your talent for invention. The char
acters are unreal, and you can make
them as fanciful as you desire. But
you must be consistent and let every
detail in your action be in keeping
with the kind of character you rep-:
resent. If the rple is "pathetic, let all
you do be along these lines; if frankly
funny, try to sustain the fresh spirit
of humor from start to finish. Ges
tures ,the attitudes you take, the way
you walk, should all belong to the
part.
The purely romantic operetta that
tells a modern love-story needs no
special directions for its performance.
Only I would recommend above all
things that you be your natural, sin¬
cere self. Beyond that the imperson¬
ation depends for its success on indi¬
vidual magnetism and charm.
One point, and an important one re¬
quires attention in each and all kinds
of operetta. Lights above and foot¬
lights below cast strange shadows and
reflections that make the best com
plexions of slight value. Elsewhere
the youthful face needs no artificial
aid to enhance it. But on the stage
some kind of make-up is indispensible
to allow you to appear as you do
naturally.
This is the way I make up: I wash
my face with a cleansing cream and
dry it thoroughly with a piece of
cheese-cloth or Japanese paper. Then
I put a little rouge on cheeks and
chin, make a dark shadow under the
eyes, and powder. Next I brush out
the powder from the eyebrows and
make strong shadows on the upper
eyelids. I line the eyebrows very lit¬
tle, but put melted black grease¬
paint on the eyelashes very heavily.
From the end of the eye I draw two
little lines that meet. Use lip rouge,
following the line of a Cupid’s bow,
but do not not exaggerate.
Upon no factor, of an operetta pre
sentation does more depend than
upon the chorus. The volume of tone
from fresh, pure voices,' combined
with animated action by the singers
adds incalculably to the life of the
whole performance. No operetta can
produce effect where the chorus,
though singing well, becomes an in¬
animate background against which
the principal characters appear. Ev¬
ery chorus member must be alive, and
appear to find joy in doing his or her
part. In an operetta performance
things should move swiftly. By this
I do not mean hurry or boisterousness,
but vivacity, and vim; never to lag,
never to drag.
To make my meaning clearer, if
the scene happens to be a workroom
full of girls, live up to it by really
working. Imagine you are engaged
in millinery and are paid for being
industrious, not idle. Go to get a
flower, a bit of ribbon; sit down and
try its effect on the hat you are trim¬
ming. Pause between times if you
have a line to speak. Let everything
be as in real life. Then you will have
a sene full of animation.
As a final word let me say that the
more numerous the rehearsals the
better the performance; and—this is
a fixed superstition with us profes¬
sionals—a bad dress rehearsal is sure
to bring a fine public presentation.
ENTIRE WOMAN'S
TICKET ELECTED
THAYER, KAN., April 29.—The
feminine government, of this town,
swept into power at the recent mu¬
nicipal flection, promises Thayer a
“business .like, forward-looking ad¬
ministration,” but is not announcing
any flambouyant promises of reform.
The entire women’s
police judge and five councilwomen—
was elected^ the men’s by a ticket. four to one vote
over This is the
only town in the State which has a
woman mayor.
“We have no campaign pledges to
fulfil; we made no pledge*, for we
were drafted for the
asserted Mrs. A. H. Forrest, the
mayor. “However we intend to serve
with all out hearts and trust that
“This town, like many small towns
—you know our population was only
528 in the last census—was suffering
from ennui. The women of the town
trough the women’s clubs have been
trying to do things for the town, and
1 P ve succeeded to some extent. How¬
ever, I believe we w ill be in position
to do much more now that we have
an entire corps of city officials in en¬
tire spnpathy with these efforts.
'Neither myself nor any of my
associates was consulted in regard to
nomination. It was conferred on us
by those who stand for a progressive
policy, and they manufactured the
slogans of the campaign, 'Get Thay
er out of the jack-oaks stage,’ and
•Vote for the women; It means a
clean town.’
“ We shal! tr Y to rive the city a
businesslike, forward-looking admin
istration. Just what our program will
be * 1 cann ’°. t sa y until we have met
aad formulated one.”
Heretofore the “city fathers” have
been for the most part aged men.
’ Kie men ’ s ticket in the recent cam
P ai ^ n was dubbed “the jack-oaks
*i cket ” due to the fact that all the
candidates were men past 65 years,
was said - The bead of the ticket,
G°t. N - Dunsmore, was chosen be
cause of his recognized ability as a
political organizer and fighter. Duns
Itl0re ’ was a State leader of the Pop
ulist P art y thirty years ago. He was
the Populist speaker of the house of
representatives during the famous
legislative war of 1893 when the
“Pops” attempted to prevent the Re¬
publican faction, from entering the
hall. It was during this fiery session
that Dunsmore acquired the sobri¬
quet, “The Bald Hornet of Neosho
(county.)”
But the women candidates did not
quail before so formidable an oppon¬
ent as Dunsmore. At the eleventh
hour Dunsmore announced his with¬
drawal from the race. All his co¬
candidates however stayed in the
race and were defeated.
T
* *?v
—
:
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