nc TO PURPEDIEA'S HADBOOK 1. Puppeteer's Rundbook (Page 1 to 28) 2, Theatre Handbook (Paga 1 to Z3} 3, Puppet's Booth (Page2 to 10) 4. How to tiske Uarionettes (Page 1 to 23]‘THE PUPPETEER'S HAND BOOK Fuppeteering ig an art that an be mastered by anyone. The longer ene practices, the better will te his manipulation. Practice will alse give the Puppeteor an understanding of the peculiar characteristics of mrionettes, which mke them sueh an effective and fascinating medium ef oxpression, The word *Puppetecring* signifies the mmnipulation ef a puppet or marionstte. The torm *Pappot® is applied to either puppets or maricnettes, elthough, technically, a puppet is a figure that is slipped on the hand to be operated Like a glove, while « mrionette ida figure on strings sus- pended from & control in'the hands of a puppeteer, To operate the marionette, the puppeteer stands on the stage bridge holding the control, ‘The stringed figure honge to the stage bolow. igure 1 shows a control, "C", to which are attached all the strings except those operating the legs. Tho leg or kneo strings and the kicker string are attached to and operated by the foot bar, "P", which when not In use is secured to the control, 10", Figure 2 shows the control *C*, and the foot bar "P* seperate. Laather hunger marinate on | oleEigure 2. Figure 3 shows the proper method of holding the control, with the left e hand, and Figure 4 the manner of holding the foot tar, in the right hand. Bigure 3 fe4 sarionotte represents a human being. With thet in mind, let a member of the group stand up. Imagine thet this person ig e martonetto, with & string fastened to each side of the head, to each shoulder, to exch Imoe, to each handy and with one string attached to the smi of the back. Pull the imaginary Strings to mke each part of the body respond. Then operate real maricnette from the bridgo, und note the similarity of response to the exerciac just dono. The puppetoer should have the fooling that he is the mrionette hanging below on strings. Work euch string to sce what it doce. Bocomo thoroughly ac- quainted with tho control. The following dircetione and the accompanying illustrations cover al] novenents usually mde by a mrionette and pappetoer Certain rulos most always bo observed. Held eontrol and foot bar as shown in Figuros 3 und h. The enly exception is when & puppoteor is loft~ handed. Never drop the eontrel or foot bar. Held the foot bar in hand oven whon operating hand strings or bew string. Do not jerk the strings. Do not Jct the hands or control be socn by the audtenec.. Koop the head of the con= trol pointed in the dircotion the marionctte faces or walks. Hold tho foot bar at a right angle to the head of tho control whon tho mrionotte milks. Hold the control lightly but firmly. Follow the directions closely.Standing Pigure 5. Lift mcrionetic control from ite hook, bring the figure through ge ontrancc, and plice it on the stucco, Held tho control and foot Ber as shown in Figures 3 ond 4, Beigo tho control until the figure is vract with foct rosting on the floor, cnd hold contrel steady, De not lower control. & narionctte should rover sag. Tho control sid bo tilted slightly formrd, watch will result in tha bow string bending the body slightly giving the inprossion of uttention und the logigul position for walling, Koop it in this position clwuys when it ds or walks. Proctice theraughly until the murfonctte cin bo removed fron ite hook «né instantly placed in this position on the stagt. Bee Figure 5 Figure ad hetions Tense the shoulder strings "8" with the little finger ef tho loft hand to make the head drep ferward, Tho weight af tho body, nornully on tho head strings fHt, is taken up by tho shoalder strings "St. Sve Figura 6 for tho hand position. Relenge tho shoulder strings and gently rudgo the howd. Ropoat theso two spora= tions ono uftcr anothor to mke tho had nod up and dow.Bigure 7. Houd Action (continued Tip the contre] from left te right a8 shown in Figure 7, This operation causes the head to shake. Tengo the shoulder strings "$" as in Figure 6 and ‘ip the control from loft to right. The hoad shakes in two positions, erect and bowed. Grasp tho bow string *BY at tho cnd of the control with the thumb ond first finger of right hand about Gight inches bolow the control. Held tho bow string "Br at tho Point grasped, lot it take the woight of the body, and lowor the gontrel. The body’ will bow fron \ the Wist. Soe Figure 6. Do not lot the foot ber tungle ip the strings during this oporstion, NOTE: THESE LOVEMENTS ARE VERY IMPORTART, FOR THEY ARE DORE ALMAYS DURING ALY TYPE OF PLAY.Grasp both hand strings "A" ut tho houd ef the control about eight Anchos below the control with thumb und first fingor of right hend. This provente tho foot from rising off tha floor whon the hand strings wre rodacd. Raise both hand strings "A*. Tho tio hands come up as high as you raise tho strings. Raise ono hand string at 2 time. Grosp at FA Sune point. Yovo the bonds in ali = FL @ircetions ond motions possible. ge Move each hond the samo my, Do net’ "suw tho air" with the hands. Miko each novenont mean something. A tarionotto hand can do almost any- ‘thing a huran hand can do. Do not Act the foot bar tangle in tho Strings whon working the hands. Soe Figuro 9, Ag Meliing. Alternetely raise und loner osch ond of the foot tur up and down ue shown in Figure 10, Tho left and of tho foot ber raises the loft fout, and tho right cnd ruisos tho right foot. Ikke the fect mrk tine, eve tho marionctto forward, Tho puppetoor noves with tho figure, his fect mk on the bridgo in step with tho sarionctto's fect on tho stage, Tho control in the left hand is raised Gnd lowered with & sort ef bobbing notion on oveh stop tha murienotto takes. 4t the samo time the control is turned te the right ~ iniird - en tho right foot stsp, and turnod to tho lort = outward - en the loft foot step, The figureta foot mst touch tho floor ot cuch stop. Tho movements arc messsury to giv the uarionotte 4 life-like wlke (Thoy may bo hard to do at first, but ms- ter thom one nt 9 tla, until thoy eux 311 be dome ct aneo.) Ptr thorough practice they ¢.n te done costly.Walk the figure one step forward! Elgure 1s Raise one hand, ‘alk it another step end reise the other hand. Walk it a third step and reise both hands, Repeat these move ments doing the step and hand raising nt the seme time. This is done by slipping the miadle finger behind the hand string, raising it quickly and operat- ing the foot bar for the step. See Figure 11. Repeat «ll these movements and ub the same time make the head nod up and down, Repeat the movements again and make the houd shake from side to side. See Figures 6, 7, 11, 5 Turning, Wrap the kickor string eround the third finger of the right hand until it is sade shorter than the knee string, end lift the foet eff the ground. Pivot the marionette in uny direction en the right foot, imagining it fastened te the fleor. “hen the mrionette is turned, loose the kicker string and lower the foot te rorml position on the floor. It 1s possible to turn the mrionette ty using only the foot bar. Raise the left or right leg, pivot en tho right or left respectively, and swing the martonette around, Mochunteslly the first method 18 the mast successful way to tum marien+ ettos. By perfecting it you will huve solved ono of the important points of Yalencing 2 mrtonette und this makes flexibility of eperation easter. Soe Figures 12 and 124 wm the following page.Eigure 12. 6. _Hreeling. Both knees = keep the mrionette's feet statienury. Lower tho control fervurd und down. The figuro lower to its knocs. Keop the uppor body orect. Seo Figure 13. Eigure 12-4Kneeling, (continued) Pigure 1 One knoe - raise the right end of the foot tur to raiso the right knes. Keop the loft foot stationry. Toan the cone trol forward und down. Hold the right foot up and in front of the body. The figure low= ers te the left knoe as the right foot toushos the floor. Hold the right kneo up and keep the uppor tody crect. To kneel on tho right knoe Popent the suits movononts but raise the left end of the foot ber instead. Soe Figura ly. Ropeat ull kneoling movencnts and mike the hend Rod und shake. Merk the bow string *B". Werk the hands ‘Te Sitting. On the floor - keep the Pout stationary and lower the control book und down. Tho figure bends ot tho hips us it Le lowsred to Ruigo the two kmeca cr ruige only ote knoo for differont effocts ufter the figure sits. Seo Figure 15. Munipulate the hands and hoad in the sitting position.sit continuse On chairs, ote. - milk the morionctte te a cheir or sofa. Tura it. Stund it in front of tho cheir, lower the control bock and down ond the figurc onde et the hips and sits, Soe Pigure 16, Nenipalate tho hands and houd in this position. Bs lying Downs On the floor = sit the figure on the floor as tn igure 16, and lewor the eon- trol buck und down until the murionette lies on ita buck. On a sofe or a bed - sit the figure in tho eontor of tho furniture. Lower tho control beck, dem, cnd inward, nmy fren thy sudience, and ot ‘the sume tine raigo the foot bor high ond ewing the logs and foot over and onte the furniture. The kieker string (the oxtre, string attuehed te the toos and vo the foot bar) is used in this oporution. Suc figure 17. aloe2. Turning ove: lay the figure on its back ag in Figure 17. Hold the control with the head of the centre] pointing toward the feot. Turn the control outward and around pointing the epposite direction. Tip the right, now outward, side of the control dovnmrd and raise the left side high. At the same time grasp the bow string "B* and pull, The figure will turn towrd the audience en its stomech, Reise the foot tar end to raise the inside leg and the legs will turn over. See Figure 18, Figure 18. - Ghasp bow oP fring Hoe Ag. Getting up, (from the floor) Riise the control aid bring the figure to a sitting position. uanipulate the foot bar as in Wolking mking both fect mrk time while the control is be- ing raised until the mirionette is erect, Do this movement and move the head Gnd hunds. ° (From & sof or bed.) Raise the control and bring the figure to a sitting position. Raise the foot bur nt the sane time and swing the feet and legs over and off the furni- ture. The mrianette sits on the edge of the sofu or bed. Ruise the control te make the figure stand. Practice this movement with and without moving the head and bends. This operation is the exact reverse of Lying Down, Figure 17.u fend Jumping funning is @ spoeded-up walking action. Manipulate the foot tar as in walking. Reise the ends slightly higher, love the foot bar faster, For Juaping, maize the control high. Reise the foot bar hicher at the sume tine. The figure is 1ifted off the floor, ite knees bent, Swing it ‘through the air and lower the contrel and foot bar as it is placed on its fect at a desired spot. The Jamp con be mde ss long or as high as my bo desired. See Figure 19. Figure 19. 12. “irostd ine Two ouppetecrs hold their controls - Pigures 3 and 4 - with the figures facing ecen other. Yake one marionette jump at the other - Figure 19 -. Aa it Jumps, tho control ef tho escond mrionette is quickly lowered - Figure 16 antl it is on ite bck, Lower the centre] of the first marienette quickly forward und down ag it jumps, miking it full fuce dow on the second mrionctte. Reise und lower toth controls jorkily te give the improssion of a struggle, Soo Figure 20 on the fellowing page. To mke the m.rioncttes wrestle standing up, walk or run thea to owh other with raised bunds. Bring them elese together. Move the hands and foot und control jerkily to give the impression of a strucele. -42-Elgure 20. 13. climbing. Walk GF run the marionette to the tree, fence, or other object to be elimbed. Stand it in front of the object and against it rendy for elimbing. Reise tho left leg = Figure 10 = about three inches from the fleor. Raise the right hond high = Figure 9. heise the entir left leg fe straight and the right hand iz lowered. The have clinbed three inches. aise the right leg another three inches higher and raise the left hond ever the head, Relsc the entire control until the leg straightens and the hand is loworsd. Ropeat these movements in this order to the top of the objoct. Seo Figure 21 on the following ruge, -13-Whon the mrionctte roaches the top, grasp tho kicker string and owing tho left leg over the tres limb or object climbed, and mke the fMgure oit there. Raise the other Log ovor and let ft sit 4n thet position. ow swing ‘tha control away from tho top of the object, and quickly loner it until the figure ia ch the floor. It appears to havo jumped down the other side of the object. LU, Dancdngs A viotrola record or other music is needed for effective dancing, but ‘the movensnts can be practiced without music by beating tims. woke the marionetts dance on both feat by raising the contrel und foot bur as high us desired in time to the music or rhythm. Rulso one log high - Pigure 10 - und wale the figure donee on one foot, then on the other fact. Soa Figure 22-4. Rupost these stops whon the figure is bowing formar! oud loaning beek, Loner the control form.rd ond dew or back and down. hon 3% Le iti ai down the bends will fail to the floor, Reige the foot and lot tho mrionctte dance on its hunds. Sco Figure 22-3, Im ull of those steps the honds cen make various gostures. In uny of tho steps, too, swing the control and foot bar wround in u circle fron left to right or revorso, The mirionutte will dines ins eirelo and will bo morc effoctive, (Sco Figures 22-A and 22-B on following pugo.)Figure 22-4 Figure 2: ndling Proportics, Turning Lights on ond off,--Niuko tho mrionctte"s hand touch the wall switch or lump switch. The Light is turned on or off from offestage on this eucs Sec Figure 9. Resding pupor.-- pleec of nuwsyaper can be fastened to the hand if it is to be permanently used in the play. If it is te he woe! tempo: fasten {t to the orm of u ehatr of sof and muko the marsonette on cuch side ef it ond lock at tt, Seo Figure 9, Tigurc 6, and Piguro 7. Lifting objects or othor merioncttos.- stages colors in soenc painting should be vory much moro brilliant and Whigher in koy than those occuring in nuturo. In addition to flat painting in solid caicr. there are a nunbor of othor mothods of cpplying paint to break up surfaces, an? to give an offect of toxture. Thoso arc as follows: = Serumbling. For rough surface offucts. A fniry dry brash is passed Lightly ovor the surface in such a way cs to partly conceal thy color be~ neath, The strokes should bo fairly even to avoid streaking. Sponging. A flat surfneod spongo is dipped in coler ond wrung out, ‘thon patted gently aver the surface. spottoring. ‘Snapping « brush full of paint over thu surmee a0 that tho color falls in little drops. Do net dip the brush more than half my in the color, and try to koop tho sizo of the spettered draps fairly uniforms Inrge drops will moko the fins] effect uneven. should be kopt in mind thnt seonory is the buckground for a play and is alao tho ploce whore the action occurs. Pointed scencry, in the malny fellg into two classes; roalictis or symbolic. Tho ronlistie scene 1s the oxaet reproduction of a living room er nm outdoor scone, ond it is the background for the play. ‘tho symbolic eceno 1s nn fmaginary setting for the idua or thu mood of the plny. Another typo of sconcry climinates painting, making use of drapus unde of blue or gray monk's c&Sth or velvet. Any othor material will do if it takos light woll. The advontoge of c sct of drapos is that thoy aro a fitting background for ony typo of play, ncoding only tho nocossary proporti al3eTHE STAGE SETTING. Stage lighting is used for certsin definite purposes, whish are in general to illuminate the stage and the performers: to simlate natural Light effects and to suggest the hour or time of day: to heighten scenic i color values: and to symbolize the meaning of the play. Eootlights These are the rew of hights on the frame in front of the stage, either set ins trough in the stege floor or secured to the necl: of the footlight screen shown in Figure 8, They aro usually on throe circuits, red, amber and white, or blue, amber and white, if colored lamps are used. If all white lenge are used with color soroons, they can ell be on ena cireuit. They are controlled by 8 master switch and bya master dinnor, so that they can be turnod on and off instantly, and by branch switches and dinners, 20 that they can be turned on and off or dimmed in color sections. The chief function of footlights is te kill the shadows formed by the overhond lights, Often footlights aro not used ut all. ‘The types in waieh colored bulbs ere used is shown in Figure 15 end Pigure 16. Pigure 15 shows tha comon type of trough reflector built inte the stage floor. PIOURE 15. Figure 16 shows © type of footlight etrip thet can be mde by mounting porcelain sockets or lamp holders on # wood strip, nd ueing reflectors male fron tin cans. PIGURE 16. N ~ -1h-Figure 17 indlestes the same coratruction as Figure 16, but with « top cover end lide in which to run color s¢reens. This permits the use of white lamps entirely. FIGURE 17. the esler screens ure made of plysood or voncer with fine wires strung actoes the france to provont the cellophane or gelatin fram buckling. Thoy my be made in fndividuel framos, as sho, or in e continuous franc with ‘cross divisions soparating the vurious colors. Sec Figure 1? - Ke Piguro 18 shows a wiring diagram for the arrangement of dimer, switeh, and Lumps on brunch circuits te feotlights or strips of other kinds. FIGURE 16. —+— Lamps in Parallel rderlights. These wre arrunged tho samc as the footlights but hang over the stage atove the top of thc curtuin. They are wircd the sim wuy, and are often connected with the footlights so that all tho lighte can bo turned on and off or dinned ut once. -15-Excopt Vhon the stags 16 divided by u scrim or gauze drop, one berdor is sufficiont. It shoald bo hung on tho tack of the proscenium arch frame, ‘with the frame act in tho propor direction to light tho stcgs. Waen a seri is used, uncther torder should be set behind ft, bub in such & location us not to interfere with the manipulation of the puppets or to tangle the strings. A border Gun ba hung at cach side of the proscontun vortioully along the odge of the proscenium sido Pramos, to take the piote of the flacd Lights. Spotlights Theso are individual lights hung overhoed or pluced at the sides of the stage. Thoy arc used to give concentrated Light ot dosired points or to concontrate a certain color. The spotlight lamps cre white. Frames arc uscd with those fixturos te givo color offects, and ure constructed in the sume munnor us thoso shown in Figure 17 = K. Figure 19 shows the atcndard type of spotlight, which consists of a netal ex, with vertilutér holos in top covered by a hood. The lamp is mounted one sliding socket, operuted by the slide hendlc in tho bottom of the bor. The fixture is sccurcd to a pipe or bur bracket with a sot screw fitting. URE 20. Figuro 20 shows « spotlight which can be made froma motal cone or horn. Tho lump socket fa mountud on u wood block buse, with a bright tin roflector behind it. The front portion of tho inside of the funnel should bo painted black to provent diffusing ref'lcctions from the sides of tho funnels Blood lights or Olivettes. Flood lights or olivottes arc used for gencral illumination. They aro oguipped with whitc lamps and arranged for color frames. Thoy may be mounted sirgly or in groups on an adjustablo stand, or hung ut the sides sbave the stag (Sco Figure 21 on following pager) -l6=PIOURE 226 PIGURE 22. pigure 22 shows @ Tlood constructod by ounting & box on ¢, woot stand, the ro eetnted flat white Inafdo, and fitted with seckt end the neconsnry wiring. Qehor in stage Lighting. Tons colors in Lighting roinforse warm colors in coosama aad Secs: wuile thoy dull goal ealers, The reverse ie clso trac. Buery gol0n is Brigntest under light of tho sumo colors Light colors produce less color Shungor in sconcry und Costume than tho wars vivid hucty and are therofors more useful. ight Flot and Cuss. GES Tietorand tho avitchboard operater will work out together ‘the aight plot of the play, which will form « basis for the Ment fee sheet. ‘ghe Light cue sheet foms tho instructions developed darts rehoureals and by close obserrwtien and study of the sertpt for the sperstien of all Tunes throughout the play. This propuration mst bo thorowghy fOr the saemtn ond officiont operetion of Lighting ie ef pararourt impertence in pepsonting c successful performnoos @ehorol_of Lichts. SontESl of all Ligiting on and ckout tho stage should be arrange! OH gno sulzckbourd. A complete wiring dicgran fer ai] the Lighting fecilitice deacribod above is shawn in Pigaro 23+ (Seo Figure 23 on following puge-) “zeFIOURE 23. ol i a fh) Ly \| {1 of ie i | | BL ie | i wo ide || | 1} Mi NI Ply Ll! 1] || || | Man | i | a a Mader diomer / } / eb Meier Suileh Branch dime: | (| z Wee | rl ' Es 2 | is Petes aly jukh There should be ons branch circus strip "FL", and one branch circuit "i" one branch circuit "WM" for spotlights Lights "OL, for sach color in the footlight each color in Border *BL*,-with y and one olrcuit "P" for flood- “leFigure 2h shows a awitehboard layout for efficient Light control, oR ds the main safsty switch controlling all tho current on the board. The ourront is distributed through the switehos "I" to the receptacles "K" and the plugs "S" to the cubles attached to the various stage fixtures, Bech unit ot "T" is composed of e ruby indicnting lamp and two toggle awitehss, One of the pair of toggles opens the -f1o, or throws current into one of the cables through the plugs "8". i'r other togele dims the currant, and by combinations of eritening, © ene ov more of the dimmers *Y* in circuit ‘vith the stage Lights, « portion of thems Twelve separate connecting plugs "S" are shom on che board, Three more moy ® added by plugeing them inte the right side of the recoptacle "I", ‘The owitehos *T* and the pluge *S* should be nunbe-ed to correspond te the ‘iring control. Tho apparatus in mounted on a aleb of heavy fire proof fitre beard. In sotting up the switchborrd, emplo smce shoul? by left behind tho vorrd for work or sdjustmente on the wiring ond eonaoctions, PIOURD 2b.Uheve the sorvicos of an olsctricion or the facilities of a mantul training department are not avatlable, thy simplest my to Light a stage @ is to uso only ono or two uxtunsion lights. Ono over tho stago will bo enough, but one can bo added for a factlight. Tha buly san bo white or colored, as dosired. Seo Figure 254 FIGURE 25. ———Fo WALL OF pase QUTLETS These Lights my be dined by using « dimmor typ: socket, which can be Purchased et most uluctrie shops, or by vmpleying the apparatus shown in Figure 26. FIGURE Be. J 4g 4 ton gallon jar or crock, mhich ts $i2lea with wtor to uhich several pounds of golt is odded. The wire X 16 fastened nround tha woodon stick S, which 1s sooured nt thy botton ond to n motal pie plate Pe T te pioce of brass tubing to rhich 4s secured the wire Y. A lomp ie connacted te X nnd Yand current turned ons Tube T If reiacd in the liguid dims the lonp, If lowered clesor to the pan thy Light intensity is increasod. Wood frano 2 is erected over tha jar asc support for the vires, -20-As ahorm dn Piguro 27, a coffoo can mkes n good roflector lamp, It Gah bo Uasd as o spot Without thu support and base, nnd suspomdod whore desired, or 1t can be sut up ne show. For ao larger flood 4 lard cen, or any sigo Gah Muy bo omployud. Breckot clamps, & plots of motel cttached to tho can and bont at right unglea in front with a sever tar palding ¢ frame in tho bunt port ere uscd t¢ hold a golntin eclor fren. this type oF Light is custly mndo, costs nothing - tha motvrials gun by found anywharo = and fivse tho soko u"fect a8 a costly lump, This Light sin be furthor aluborated ty Buking a camora-Like shutter of tin, festmod at the front to the walls of tho can. A alot should by made in the clue of the oon, halfwoy round, for a Goxtrolling levar which opons rnd clscos thu This dovicu mikus it possible to focus tho light em a Turis ar ane of the atog’. A simpler mothod of focusing is te out a ploco of e rdbo=rd an@ pleee 1 over the color frm, FIGURE 27. hele> Jor Pe Kor weed back 7 nal or peq rg Uegifed wood base -2l-If conditions miko it necessrry to reduce the stage to the simplest possible cloments, un ordinary packing box npproxinately twanty inchos in hetght eon bo substituted for the stoge boxes shown in Pigure 1, The puppoteors enn trke thoir places on tho top of n table sot bohint the box and used inetoud of tho bridge shown, A roil mdo of two by fours con be put toguthar rn orected on the toble in ploce of the bridge Toil. In order te form the proscenium opening, long curtcins eun be drapod at tha sides of the atego, with a short drape ovor the top butwuun then. A curtain te closs the proscenium oponing cen be atruny ca o wine and operated with a draw rope from the sides of tho 6 22+PROFERTILS. 4 good property nan is an invaluable asset to any theatrical organiza tion, He should be selected for mechanical ability, and should be of an inventive turn of mind, for he Will be ealled upon to build and to make many properties whieh, due to their size, cannot be purchased and which Would otilervise prove to be expensive, The property man should have a box in which he can store in order the stage properties required for a given play, so that he can lay hands on anything required at a moment's notice, He should prepare from the seript and during rehearsals a list, so that no deteil of bis worl may be forcotten, and to insure promptaess, For instance, if a character is to enter holling @ newspeper in one scenc, and later to cone on without it, ‘the property man mst have the paper secured to the marionette’s hands when it is hung on the hook rail for the puppeteer, He must reuove the paper ao soon as the figure is off the etage, so that it will be ready for its sccond entrance, Often s stove or a fire may be required, ‘The fire in the stove may be arranged with = small electric lamp, with red cellophane or gelatin over it, If en open log fire ie to be built, large twige or branches of the prover size ean be placed over the eellophane covered lanp. Over the ecllophant lay a piece of large mesh wire netting to which strips of solored crepe paper or crepe de chine are ticd, A suall electric fen laid flat behind the fire Will mike these into realistic flanes, Doors can bo opensd and closed by % long stiff wire attached to the back of the door, Many properties eun be construeted with wood, paper, eardbenrd, glue, and quick drying lacquers, OffaAtarc sound effects Till include balls, Wind, rain, thunder, hoot bouts, and other noises. ‘A board can bo arranged With several Kinds of cleetrie belle, with push buttons, and tho necessary battcrics. Make sure that the battcries are fully charged just before a performanes, & bass drum Will provide very udequate thunder. For Wind, 4 portable vacuum eloanur operated by a rheostat will give a variety of offocts. Rain can be suggoatcd Rith pebbles or shot in e round Wooden choose box, Show can bu simulated with white eonfetti ond an clcetric fan, & pair of cocoanut sholle or wood blocks WEIL give the offcct of hoof beats. Wherever possible, propcrtics should be in shape 80 that they eax be uscd in rchcarsals, ae this will not only holp the property man to arrange hia om cuc List, but will aid mtcitslly in adjusting matters of dotail in the manipulation of the narionottcs.