Drama -- History and criticism; Theater; Theater -- History
'Sumurun' is rather a spectacle than a play; and therefore it makes
comparatively little use of the conventionalized gestures which may be
described as the accepted vocabulary of pantomime, and which have been
developed by the followers of Noverre in France and in Italy. This
vocabulary of gesture is only a codification of the signs which we
naturally make--shaking the head for "no," nodding for "yes," and laying
a finger on the lips for "hush!" The basis of any such vocabulary must
be the series of gestures by the aid of which man has always expressed
his emotions. This is why the traditional gestures of theatrical
pantomime do not, and indeed cannot, differ greatly from any natural
sign language. The universality of this pantomimic vocabulary was
curiously evidenced forty years ago when Morlacchi, the Italian dancer,
married Texas Jack, the American scout. She had been trained in
pantomime at La Scala, in Milan, and he had acquired the sign language
of the Plains Indians. And they found that they could hold converse with
each other in pantomime, she using the Italian-French gestures and he
employing the gestures of the redskins.
(1912.)
XII
THE IDEAL OF THE ACROBAT
THE IDEAL OF THE ACROBAT
I
When Huckleberry Finn went to the circus he sneaked in under the tent
when the watchman was absent. He had money in his pocket, but he feared
that he might need this. "I ain't opposed to spending money on
circuses," he confessed, "when there ain't no other way, but there ain't
no use in _wasting_ it on them." In spite of the fact that he had not
paid for his seat, and that he was thereby released from the necessity
of getting his money's worth, he declared cheerfully that "it was a real
bully circus. It was the splendidest sight that ever was, when they all
come riding in, two and two, a gentleman and a lady, side by side, the
men just in their drawers and undershirts, and no shoes nor stirrups,
and resting their hands on their thighs, easy and comfortable ... and
every lady with a lovely complexion, and perfectly beautiful, and
looking like a gang of real sure-enough queens.... And then, one by one,
they got up and stood, and went a-weaving around the ring so gentle and
wavy and graceful, the men looking ever so tall and airy and straight,
with their heads bobbing and skimming along, away up there under the
tent roof, and every lady's rose-leaf dress flapping soft and silky
around her hips, and she looking like the most loveliest parasol."
Public-domain text, read in full here on John Shaqi.
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