Theatrical and Circus Life: or, Secrets of the Stage, Green-Room and Sawdust ArenaJennings, John J. (John Joseph)
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Theatrical and Circus Life: or, Secrets of the Stage, Green-Room and Sawdust Arena
Jennings, John J. (John Joseph)
Circus; Theater -- United States
I have room to add only a few polyphonic imitations. To imitate the
tormenting bee, the student must use considerable pressure on his
chest, as if he was about to groan suddenly, but instead of which, the
sound must be confined and prolonged in the throat: the greater the
pressure, the higher will be the faint note produced, and which will
perfectly resemble the buzzing of the bee or wasp. Now, to imitate the
buzzing of a bluebottle fly, it will be necessary for the sound to be
made with the lips instead of the throat; this is done by closing the
lips very tight, except at one corner, where a small aperture is left;
fill that cheek full of wind, but not the other, then slowly blow or
force the wind contained in the cheek out of the aperture: if this is
done properly, it will cause a sound exactly like the buzzing of a
bluebottle fly.
The noise caused by planing and sawing wood can also be imitated
without much difficulty, and it causes a great deal of amusement.
The student must, however, bear in mind that every action must be
_imitated_ as well as the noise, for the eye assists to delude the
ear. We have even seen ventriloquists carry this eye deception so far
as to have a few shavings to scatter as they proceed, and a piece
of wood to fall when the sawing is ended. To imitate planing, the
student must stand at a table a little distance from the audience, and
appear to take hold of a plane and push it forward: the sound as of
a plane is made as though you were dwelling on the last part of the
word hu_sh_--dwell upon the _sh_ a little, as _tsh_, and then clip
it short by causing the tongue to close with the palate, then over
again. Letters will not convey the peculiar sound of sawing--it must be
studied from nature.
CHAPTER XXXIII.
"ON THE ROAD."
Theatrical life is full enough of business and bustle, even when a
company is playing a long engagement in a large city; but when "on the
road," travelling from town to town--playing here a week and there
a week, with one-night stands in the intervening "villages," actors
and managers find it no easy task to retain their health and spirits,
and keep up with their "dates;" and with all but a few organizations
located almost permanently in New York, thus flitting from place to
place--a round of anxiety and railroad experiences that lasts through
forty weeks of each year--makes up the easy, glorious, and blissful
existence that so many people outside of the profession imagine is the
unalloyed portion of those who are in it.
Public-domain text, read in full here on John Shaqi.
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