OCR Text |
Show T H E COMPOSITION OF BALLETS. 243 It requires great talent in an artist clearly to exhibit to the spectators that progress of events which completes the subject of a Ballet; upon this depends the entire interest of the composition. If the representation is confused or obscure, dramatic effect is lost, and the programme then becomes a feeble aid to the public, and almost useless to the artist. The mode of representation should be clear, simple and exact. It is not necessary' to employ an infinity of gestures though even there are many ideas to be expressed, for this practice is only calculated to mislead the spectators ; be rather brief and precise, and avoid long pantomimical narrations. Render your plot interesting at its commencement, and the final d^noument will then be expected with a pleasing impatience. Programmes should be written with clearness and simplicity. Every circumstance in the Ballet should be there detailed with the utmost perspicuity ; the succession of scenes should be described in exact order. The intention of the composer being thus perfectly explained, each performer is enabled to form for himself a just idea of the successive order of scenes, peculiarities of characters, the depending class of passions, and the nature of his own part. A plot may often, however, be more easily composed than developed on the stage. In writing programmes, it is usual to omit a quantity of details useles and uninteresting to all except the Ballet-master, whose business is to superintend rehearsals, and to conduct the representation. A quantity of pantomimical business, therefore, instructions for dancers, and mutual explanations, are only expressed in stage directions, in giving which, particular care should be taken that every circumstance tends to produce clearness and general effect. |