Early 19th Century Male & Female apparel, courtesy of London's Victoria & Albert Museum |
In Jane Austen’s novel Mansfield Park, the Bertram family
decides to stage a play for their own amusement. In the absence of Lord
Bertram, eldest son Tom takes charge of the production. Using his position and
charisma, he navigates a stormy sea of negotiations and choices. Not only must they settle on a play that everyone likes, and not only must each person find a
role agreeable to them, but also the play must be rewritten so that no one’s
part is too large or too small. Then their labors and expenses really begin. A
stage must be built, backgrounds painted, curtains and costumes made, and of
course, everyone must practice long and hard to learn their lines. And hanging
over all this activity and expense is the question of whether Lord Bertram
would approve of this production, and members of their social class acting, if
he were present.
In Mapp And Lucia by E. F. Benson, Mr. and Mrs. Wyse ask
Lucia to hold a garden fete in her backyard as a fundraiser for Tilling’s
hospital. While this is nothing in comparison with the elaborate Fetes she
threw in her former town of Risholme, a stage must be constructed, acts
planned, and costumes constructed. Lucia plans a series of tableaux vivants, in addition to other types of entertainment. She
and her friends dress up as historical characters such as Queen
Elizabeth, King Cophetua, and Sir Francis Drake, and appear holding props and adopting specific poses. Between each tableau, while the stage
is being redressed, a choir sings to hold the audience’s attention. It’s
a large effort for Lucia and her friends, but everyone who attends has a
marvelous time, and they raise needed funds for the hospital.
In her novel Shades of Milk and Honey, Mary Robinette Kowal
introduces magic to the world through her characters’ use of glamour. Jane
Ellsworth decorates the family room with swaying trees, warm sunsets, birds and
animals that prowl the walls or drink from ponds, and the scents of exotic
places. When she plays the piano, she can summon a length of glamour from the
ether, and tie it off when the piece reaches its conclusion. Having recorded the music with a strand of glamour, she can then replay the music on an infinite loop, or until
she banishes it. And then there are Mr. Vincent's shadow plays, and the tableaux vivants performed with the aid of glamour.
One day, while enjoying an outing in the country, Lady
FitzCameron declares that she wants a tableau vivant. So Jane and Mr. Vincent
take a moment to discuss what scene to portray, and summon the energy and
mental focus necessary to perform such an illusion. The others sit waiting for their entertainment to commence.
Jane tugged folds over her to create a mask of Daphne, and
the delicate garments such an ephemeral nymph would wear as she fled the sun
god.
Appearing taller than he was, and glowing with the light of
the sun, Mr. Vincent embodied Apollo, his hands outstretched to reach for the
frightened nymph. As their guests studied the tableau vivant with exquisite
fascination, Jane released the slipknot she held, and hidden folds slid around
her into a laurel tree. She was gratified by the gasps of surprize and pleasure
from their viewers. It was no small thing to change a detailed glamour so
smoothly.
While Jane and Mr. Vincent pull off this tableau successfully, a later attempt ends differently. After putting the
finishing touches on Lady FitzCameron’s impressive glamural, Mr. Vincent exhibits signs of exhaustion at its unveiling. Yet Lady FitzCameron takes no
notice, and commands Mr. Vincent and Jane to perform another tableau for her
visitors. Jane performs her role as expected, but Mr. Vincent collapses. So drained is he that he nearly dies. Thus Mary Robinette Kowal reminds us that, regardless of the era they live in, some people will always undervalue the entertainment they enjoy, and that nothing worthwhile—no matter how easily
accessible—is created without great skill, effort and cost.
Dragon Dave
Dragon Dave
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