Читать книгу Patriotic Plays and Pageants for Young People - Constance D'Arcy Mackay - Страница 7

Table of Contents

CHARACTERS

PRINCESS POCAHONTAS

CHIEF POWHATAN

CAPTAIN JOHN SMITH

Eight Young Indian Braves

Eight Young Indian Maidens

Two Indian Women

Two old and withered Squaws

Six or seven little Indian children

Other followers of Powhatan

TIME: Mid-afternoon on a mild day in 1609. PLACE: Virginia. SCENE: An open glade showing a small Indian encampment.

At the opening of the scene the glade is deserted, the men of the tribe being engaged in a skirmish with the white men, while the women and children have gone foraging. There are two teepees, one at right, and one at left, their doors closed. By the side of teepee at left a pile of fagots, and a wooden block. Further front, facing audience, a great war-drum, gaily painted. A skin-covered drum-stick. At right, towards front, the smoldering remains of a fire. The whole appearance of the camp shows that it is not permanent—a mere pausing-place. The space between the teepees is absolutely unobstructed, but there are trees and bushes at the back and sides. By degrees the Indians who have been foraging begin to return. One of the Indian women enters carrying fagots. One of the older squaws rekindles the fire. Next come the children, with merry shouts, carrying their little bows and arrows. The Indian maidens enter gaily, carrying reeds for weaving. They move silently, swiftly, gracefully. Two of their number begin to grind maize between stones. Two others plait baskets. An old medicine-man, with a bag of herbs, comes from the background, and seats himself near the drum, at left, taking an Indian flute from his deerskin belt, and fingering it lovingly. An Indian woman, arriving later than the others, unstraps from her back a small papoose, and hangs it to the limb of a tree. The Indian children stand towards the front of the greensward, shoot in a line their feathered arrows, run and pick up the arrows, and acclaim in pantomime the one who shot the best. Then they go towards background, doing a childish imitation of a war-dance. The mother of the papoose, having finished her duties in setting one of the teepees to rights, now takes down the papoose from the tree where it swings, and seating herself in the center of the greensward, croons an Indian lullaby. The Indian maidens group themselves about her, seated in a semicircle on the ground, swaying rhythmically. At the back of the stage one of the little Indian boys sees an Indian maiden approaching, clad in white doeskin. Cries aloud delightedly: "Pocahontas!" The Indian maidens and the squaws rise and fall back before the entrance of Pocahontas with gestures of salutation and respect.

ALL

(clearly and enthusiastically).

Pocahontas!

[Pocahontas comes down center with a basket filled with branches that bear small red berries. The children and two of the maidens gather about her, and then fall back as she begins speaking, so that she has the center of the stage. Greatest interest is evinced in all she does.

POCAHONTAS

(speaking slowly, as one does in an unfamiliar tongue, yet clearly and deliberately).

I—Pocahontas—daughter of Powhatan, great chief—speak—language of—paleface. Powhatan teach me. (Points to way from which she has come.) Yonder—I—went. Prayed to River God.

[Makes gesture of worship, raising basket above her head. The semicircle about her widens respectfully. A maiden then approaches and takes basket. Pocahontas smiles in sudden childlike delight, and holding out chain of beads that fall from her neck to her waist, says with pretty intonation:

Beads. Jamestown.

[Watches them for a moment as they glimmer in the sun. Then with sudden laugh seizes the Indian maiden nearest her, and by gesture summons the other Indian maidens. One of the very old squaws with a half-wry, half-kindly smile begins a swift tapping on the drum that has in it the rhythm of dance music. The Indian children withdraw to the doors of the teepees, and Pocahontas and the Indian maidens dance. The old medicine-man adds his flute-notes to the rhythm of the war-drum. The Indians being a notably silent people, this scene must be given mostly in pantomime. From the forest at right comes the faint sound of a crackling branch. Instant attention on the part of all. The dance stops. The Indian maidens stand poised, listening. The women shade their eyes with their hands. A small Indian boy lays his ear to the ground, and then cries: "Powhatan!" Two expectant semicircles are formed. All look to wards right. Powhatan enters, Pocahontas runs to meet him. Tableau. Powhatan then indicates that others are coming from right. Young braves enter with John Smith in their midst. His hands are bound behind him, his face is white and drawn. Children at sight of him scamper to teepees. The rest show signs of curiosity. Pocahontas stands with clasped hands and startled eyes, regarding Smith most earnestly. A brave bears Smith's weapons. Smith is led to right foreground. Block of wood is brought him for a seat. The Indian women, maidens, and children retreat to the extreme background, where they sit in a semicircle, watching. Then Powhatan and braves withdraw to left, where they form a circle and confer, one brave at a time addressing the rest in pantomime, with many gestures, some towards Smith, some towards the path by which they brought him. Occasionally the words "Algonquin," "Chickahominy," "Jamestown," "Opeckankano," "W'ashunsunakok" are spoken. When Powhatan speaks in pantomime the others listen with occasional grunts of satisfaction and approval. It is evident that the prisoner and the fate awaiting him are under discussion. Pocahontas alone remains near the center of interest. She glances first at her father and the braves, sees they are deep in discussion, and then crosses to John Smith, with every sign of interest and awakening pity. She brings him water in a wooden bowl. He drinks thirstily. She then goes to one of the teepees, and brings him a cup of milk. This she holds for him to drink from, as his hands are bound.

POCAHONTAS

(gravely, as she puts down the cup).

How!

SMITH

(with equal gravity).

How!

POCAHONTAS

(touching herself lightly).

Pocahontas. Daughter of Powhatan.

[Touches Smith questioningly.

SMITH

(answering her).

Smith. John Smith.

POCAHONTAS

(repeating it after him).

John Smith.

SMITH.

From Jamestown.

POCAHONTAS

(nods, says slowly).

Pocahontas likes paleface.

[Meantime the pantomimic discussion held by Powhatan and his braves is drawing near its close. There comes a shout of triumphant acclaim "Wah! Wah! Wah!" hoarse and loud. Powhatan, having in pantomime rendered his decision, now stands with arms folded, at left. Braves to right, and take Smith to center. Powhatan stands at the extreme left. The braves form a semicircle about Smith. The women and children in the background rise silently, and peer forward. Smith is forced to one knee. A brave holds aloft the hatchet.

POCAHONTAS

(looking from Smith to her father, and then running towards the latter with a cry).

No! No!

[Powhatan regards his daughter gravely, yet unrelentingly. Pocahontas, center, stretches out her arms in pleading. Powhatan shakes his head. Pocahontas then goes towards Smith, and again with animated pantomime, indicating first Smith and then the way by which he has come, pleads for him. Powhatan shakes his head. He is obdurate. Pocahontas bows her head dejectedly. Turns to go back to where she has been standing. Then changes her mind, runs to her father, and with every evidence of pleading and humility, falls on her knees before him, arms outstretched. For a moment they are still as statues. Then Pocahontas takes from her neck her string of beads, and, by gesture, offers it as a ransom for Smith.

POCAHONTAS

(speaking slowly).

Pocahontas, daughter of Great Chief, asks of Great Chief John Smith's life.

[Tense pause. Powhatan, with arms folded, considers deeply. Then makes sign of assent, but gives back necklace to Pocahontas, who rises with pantomime of joy. Powhatan makes sign to braves to release Smith. Smith is unbound. His weapons are given back to him. He chafes his wrists and presents his compass to Powhatan.

SMITH.

Great Chief! (Turns first to Powhatan, and then to Pocahontas.) Great Princess! John Smith grateful!

[Powhatan touches him on shoulder.

POWHATAN

(grunting).

Umph!

[Indicates by gesture peace-pipe which has been lit at fire. All braves sit in semicircle facing audience, and pass it (not too slowly!) from one to another, including Smith and Powhatan. Then all rise.

SMITH

(standing center).

John Smith goes to Jamestown. John Smith friend of great chief, Powhatan. Palefaces always remember Powhatan! Always remember Pocahontas!

BRAVES

(all together).

Wah! Wah! Wah!

[Exit Smith, right. Smith is watched by the Indians in silence deep and respectful.

POCAHONTAS

(to Powhatan).

Great Chief safely returned. Captive set free. Shall we go yonder? (Points.) Pray to River God?

[Powhatan nods gravely. He and Pocahontas exeunt left. The braves follow next. The Indian maidens, women, and children form the end of the procession. The stage is thus left empty, and the scene ends.

COSTUMES

POCAHONTAS. Pocahontas should wear the traditional costume of "white doeskin with a scarlet mantle flecked with gold sequins." A great chain of pearls should be about her neck. Another chain which reaches to her waist should be of white and blue beads—large beads that will catch glitter from the sun. About her head a band of tan, and a white quill. The embroidery about the neck of her Indian robe is of pearls. The basket which she carries should be white, with a motif of rich blue and scarlet. She wears a tan (dressed deerskin) girdle, heavily embroidered in red beads. Her stockings and moccasins are tan-colored also, the moccasins embroidered in scarlet. The ends of her braids are bound in scarlet and gold. White canton flannel, skilfully slashed for fringing, will make the Indian dress, which should fall in straight lines from a square neck. It should reach to about three inches above the ankle, and should be heavily fringed. The robe, worn fastened at the shoulders, should be of scarlet cloth. The deerskin belt is of cotton khaki. The moccasins can be made of the same material, cut sandal fashion. Or low canvas ties without heels, bead-embroidered.

CAPTAIN JOHN SMITH. Tan-colored costume of the seventeenth century. The coat of tattered, weather-stained brown velvet, the puffed sleeves slashed with tan satin that is soiled and frayed. Great tan boots coming to the knee. A white lace collar at neck, much the worse for wear. A brown leather girdle.

POWHATAN. Indian dress of tan (dressed deerskin), the neck and breast of it gorgeously painted with blue, green, and scarlet. Great chains of shells and beads. A huge head-dress of black feathers that hangs down his back almost to his knees. It should be the largest and most magnificent of all the Indian head-dresses, as it is the insignia of chiefdom. Tan stockings and tan moccasins. The material of his costume may be cotton khaki. (The imitation khaki is best, as the real material is too heavy.)

THE MEDICINE-MAN. The medicine-man is old. He wears a wig of long, white, coarse hair. His costume is of cotton khaki, decorated with beads, bits of looking-glass, and feathers. He wears no feathers on his head. A piece of fur is fastened to his shoulders. His blanket is black, with white cabalistic signs. It can be made of canton flannel.

INDIAN BRAVES. The braves who follow Powhatan should wear costumes resembling those of the chief, save that they are less gorgeously painted, and wear fewer strings of beads and shells. Their head-dresses, too, are shorter. They should be of gray, black, and brown feathers. Their faces are, of course, stained brown, their arms and necks likewise. Red and black warpaint should also be on their faces. Unless wigs of long hair are to be worn, the boys wearing the feathered head-dresses should be careful to see that their lack of long hair is concealed from view. Often the Indian braves wore their long matted locks braided; and black cheesecloth cut into strips and then braided and fastened to a tight black cap will make a splendid wig of this sort—the braids of hair should hang in front of the ears. The Indian braves should carry bows, arrows, and tomahawks.

THE INDIAN MAIDENS. The Indian maidens should wear tan fringed dresses, of the same length and fashion as that of Pocahontas. Necklaces and bracelets of shells. The necks of the dresses embroidered in beads and shells. They wear their long black hair in two braids, the ends of the braids bound either with scarlet, corn-yellow, or vivid blue. They have moccasins and tan-colored stockings. Their bead' embroidered footgear should be in striking color on a tan background. But their chief glory is their blankets. These should be barbarically glowing, since it is partly in their wild flare of color that the beauty of the Blanket Dance lies. The following designs for them are taken from the Indian motifs and colorings studied from the collections in various museums of natural history, and however startling they may seem at first, their color-scheme should be faithfully carried out, as much of the success of the scene depends on them. The material used may be canton flannel throughout. They should be the size of the average, every-day blanket.

1. Blanket made of equal halves of deep royal purple and pale turquoise blue.

2. Blanket of deep cobalt blue. Fastened in the center a great oval of orange.

3. Blanket made of equal halves of pale lemon and black.

4. Blanket made of equal halves of very dark green and very pale green.

5. Blanket made of equal halves of deep violet and white.

6. White blanket with disks of scarlet at each of its four corners.

7. Blanket of equal halves of royal purple and pale lavender.

8. Blanket of very pale green, with large white disk in center.

Each Indian maiden should wear a band of gay-colored cheesecloth, red, green, or blue, bound about her forehead. This band should match the color that fastens her braids. In the back of the head-band should be fastened a quill of contrasting shade. It need hardly be added that the Indian maidens wear neither feather head-dresses nor war-paint. Their arms, necks, and faces should be stained light brown. The tan-colored stockings are to simulate bare skin.

SQUAWS. The squaws wear the same cotton khaki costumes as the Indian maidens, save that their blanket are of more somber colors, and their headgear is either omitted altogether, or consists of black, bronze, or dull green.

THE LITTLE INDIAN BOYS. They should drew in exact imitation of the older braves, save that they wear no war-paint.

PROPERTIES. For either an indoor or outdoor representation of this scene where it is impossible to have a real fire, have a pile of fagots and unionist them place large bunches of joss-sticks bound together with thread. These will burn easily and safely, and the blue smoke from them will simulate a waft from woodland embers.

The log can be made of two small vinegar barrels fastened together, covered with brown burlap, and then flecked with green and brown paint. The teepees should be of canvas, unbleached cotton, or burlap fastened over three slender, strong poles, stuck into the ground. They should be equal to bearing the weight of the canvas or burlap, and yet light enough to be removed and carried off the scene by the young Indian braves as they leave in the direction of the river when the scene ends.

DANCES. At the place indicated in the scene, the Indian maidens give one or more characteristic Indian dances. "The Blanket Dance," one of the most widely known and picturesque of the Indian dances, follows somewhat the lines of a Virginia Reel. The Indian maidens stand in a line facing each other, their blankets wrapped about them. The head couple, facing each other, spread wide their blankets behind them like great butterfly wings. Then they dance forward and back, forward and back, beckoning, retreating, gesturing, and finally dance off, with one blanket wrapped about two pairs of shoulders. Then the next couple, and so on. All sorts of fantastic steps, gestures, bendings, and swayings can be introduced. A wide space should be left between the dancers, so that all they do can be clearly seen. Dancing in great circles, like a mild war-dance, yet without the whoops and wild gestures of the latter, is another form that lends itself to the out-of-doors. Another dance is the Eagle Dance; with arms spread wide, holding their blankets at

wing-like angles, the dancers circle about each other, the dance growing wilder and wilder. Still another dance is the symbolical one of the Four Winds—North, South, East, West—done by four Indian maidens. The South Wind gentle and swaying; the West Wind fantastic, with arms upraised; the East Wind with streaming hair and rain-drops shining on finger tips; the North Wind wilder than them all, and finally driving them all before her.

MUSIC. Piano: MacDowell's "An Indian Idyl," "From an Indian Lodge." These can be had orchestrated. For a band: "Tomahawk Dance," by Andrew Herman. "Indian War Dance," by Bellstedt. "The Sun Dance," by Leo Friedman.