Why the Chimes Rang | Page 8

the vision had been. Swiftly he rises to his feet and turns
to face the Woman._)
HOLGER. Dame,--dame!--The Chimes,--the star--did you see? (_She
is gone, he stares about him looking for her_) Gone! Gone! (_The
music still rings softly_) But the Chimes! (_He turns, runs to the
window, and flings open the casement. A soft light, half moonlight,
half something more luminous pours in upon him. He speaks in a tone
of infinite happiness, looking upward_) The stars!--God's Chimes!
THE CURTAIN FALLS SLOWLY.

THE APPENDIX

[Illustration: Sketch of hut scene for "Why the Chimes Rang," before
the backing of the gauze drop is raised. (Everything back of the
fireplace on the left, and the window on the right, is painted on the
gauze, including the stool and the supporting pillar.)]
[Illustration: Sketch of chancel scene for "Why the Chimes Rang," after
the backing of the gauze drop is raised. (For simplified setting made of
screens, see diagram on page 34 of appendix.)]

The accompanying scenery plates are not intended to be followed in all
their elaborate detail but merely to give an idea of the effect to be
worked toward in planning the scenery.

APPENDIX.
The following suggestions for a simplified staging of "Why The
Chimes Rang" are offered, not to college dramatic societies or other
expert amateurs but to the many young people in the secondary schools,
Sunday schools and country districts, who would enjoy staging short
plays if it could be done without elaborate scenery or lighting
equipment and without previous experience in stage management.
Simplicity aided by imagination goes far upon the stage, and it should

always be remembered that the real aim is the creation of a given
emotion in the minds of the audience rather than the creation of a given
thing upon the stage. If a circle of gilt paper on the head of a fine
looking lad can create a vivid impression of kingly dignity, all the
crown jewels of Europe cannot better the paper for stage purposes.
In producing a play, it should first be carefully read to see what main
impression is to be conveyed, and what chief elements are to be
emphasized to make up this impression. The details can then be worked
out in harmony with the more important factors.
In "Why The Chimes Rang," religious exaltation is the mood to be
created, and the divine beauty of charity is the main theme.
Three sharply contrasted effects are called for: the wood-chopper's hut,
dark and humble; and, set against this, the earthly splendor of the
cathedral chancel, which in its turn is dimmed by the miraculous
presence of the angel.
It is expected that this play will be adapted, by those giving it, to the
form and degree of ritual desired. Censers and candles may be used or
not, altar appointments and priestly vestments may be chosen to suit the
taste of those concerned. Indeed, in all respects, a play must be suited
to the conditions under which it is presented and the audience before
whom it is given; and while the text may not be altered or added to,
lines may be omitted if desired.
The information here given has been gathered from frequent working
over of the material but at best it can only help in a general way. Any
one producing a play must work out his own problems in detail. One of
the things that makes the staging of plays such fascinating work is the
exercise it affords the imagination in overcoming obstacles.

SCENERY

[Illustration: Diagram showing the arrangement of screens for
simplified staging of "Why the Chimes Rang."]

SCENERY.
For the sake of facing the most difficult form of the problem of amateur
staging, let us suppose that this play is to be given in a parlor or hall,
without platform, without proscenium arch or curtains, with the walls,

floor and ceiling of such material and finish that no nails may be driven
into them, and that the depth of the stage is only nine feet. It looks
hopeless but it can be done.
Under such conditions the only possible form of scenery is the screen.
If the "scenery-man" is a bit of a carpenter, he can build the screens
himself, making them as strong and as light as possible, with four
leaves a few inches shorter than the height of the room in which they
are to be used, and proportionately wide.--The framework should be
braced by cross pieces in the middle of each leaf, and should have stout
leather handles nailed to them for convenience in lifting the screen. The
right side should be covered with canvas such as is used for scenery,
and the screens can then be easily repainted or recovered for later plays.
If