A new ballet, entitled the "Tempest," by Messrs. Barbier and Thomas,
has recently been put upon the stage of the Opera at Paris with superb
settings. One of the most important of the several tableaux exhibited
is the last one of the third act, in which appears a vessel of unusual
dimensions for the stage, and which leaves far behind it the
celebrated ships of the "Corsaire" and "L'Africaine." This vessel,
starting from the back of the stage, advances majestically, describes
a wide circle, and stops in front of the prompter's box.
[Illustration: FIG. 1.--SHIP OF THE "TEMPEST," IN PROCESS OF
CONSTRUCTION.]
[Illustration: FIG. 2.--SETTING OF THE SCENERY BEFORE AND AFTER THE
APPEARANCE OF THE SHIP.]
As the structure of this vessel and the mechanism by which it is moved
are a little out of the ordinary, we shall give some details in regard
to them. First, the sea is represented by four parallel strips of
water, each formed of a vertical wooden frame entirely free in its
movements (Fig. 2). The ship (Figs. 1, 2, 3, 4 and 5) is carried by
wheels that roll over the floor of the stage. It is guided in its
motion by two grooved bronze wheels and by a rail formed of a simple
reversed T-iron which is fixed to the floor by bolts. In measure as it
advances, the strips of water open in the center to allow it to pass,
and, as the vessel itself is covered up to the water line with painted
canvas imitating the sea, it has the appearance of cleaving the waves.
As soon as it has passed, the three strips of water in the rear rise
slightly. When the vessel reaches the first of the strips, the three
other strips, at first juxtaposed against the preceding, spread out
and thus increase the extent of the sea, while the inclined plane of
the preceding tableau advances in order to make place for the vessel.
The shifting of this inclined place is effected by simply pulling upon
the carpet that covers it, and which enters a groove in the floor in
front of the prompter's box. At this moment, the entire stage seems to
be in motion, and the effect is very striking.
[Illustration: FIG. 3.--SHIP OF THE NEW BALLET, THE "TEMPEST."]
We come now to the details of construction of the vessel. It is not
here a question of a ship represented simply by means of frames and
accessories, but of a true ship in its entirety, performing its
evolutions over the whole stage. Now, a ship is not constructed at a
theater as in reality. It does not suffice to have it all entire upon
the stage, but it is necessary also to be able to dismount it after
every representation, and that, too, in a large number of pieces that
can be easily stored away. Thus, the vessel of the Tempest, which
measures a dozen yards from stem to stern, and is capable of carrying
fifty persons, comes apart in about 250 pieces of wood, without
counting all the iron work, bolts, etc. Nevertheless, it can be
mounted in less than two hours by ten skilled men.
[Illustration: FIG. 4.--THE SHIP WITH ITS OCCUPANTS.]
The visible hull of the ship is placed upon a large and very strong
wooden framework, formed of twenty-six trusses. In the center, there
are two longitudinal trusses about three feet in height by twenty-five
in length, upon which are assembled, perpendicularly, seven other
trusses. In the interior there are six transverse pieces held by
stirrup bolts, and at the extremity of each of these is fixed a
thirteen-inch iron wheel. It is upon these twelve wheels that the
entire structure rolls.
There are in addition the two bronze guide wheels that we have already
spoken of. In the rear there are two large vertical trusses sixteen
feet in height, which are joined by ties and descend to the bottom of
the frame, to which they are bolted. These are worked out into steps
and constitute the skeleton of the immense stern of the vessel. The
skeleton of the prow is formed of a large vertical truss which is
bolted to the front of the frame and is held within by a tie bar. On
each side of this truss are placed the _parallels_ (Figs. 1 and 3),
which are formed of pieces of wood that are set into the frame below
and are provided above with grooves for the passage of iron rods that
support the foot rests by means of which the supernumeraries are
lifted. As a whole, those rods constitute a jointed parallelogram, so
that the foot rest always remains horizontal while describing a curve
of five feet radius from the top of the frame to the deck of the
vessel. They are actuated by a cable which winds around a small
windlass fixed in the interior of the frame.
[Illustration: FIG. 5.--THE SHIP AS SEEN FROM THE STAGE.]
The large mast consists of a vertical sheath 10 ft. high, which is set
into the center of the frame, and in the interior of which slides a
wooden spar that exceeds it by 5 ft. at first, and is capable of being
drawn out as many more feet for the final apotheosis. This part of the
mast carries three footboards and a platform for the reception of
"supers." It is actuated by a windlass placed upon the frame.
To form the skeleton of the vessel there are mounted upon the frame a
series of eight large vertical trusses parallel with each other and
cross-braced by small trusses. The upper part of these supports the
flooring of the deck, and their exterior portion affects the curve of
a ship's sides. It is to these trusses that are attached the panels
covered with painted canvas that represent the hull. These panels are
nine in number on each side. Above are placed those that simulate the
nettings and those that cover the prow or form its crest.
The turret that surrounds the large mast is formed of vertical trusses
provided with panels of painted canvas and carrying a floor for the
figurants to stand upon.
The bowsprit is in two parts, one sliding in the other. The front
portion is at first pulled back, in order to hide the vessel entirely
in the side scenes. It begins to make its appearance before the vessel
itself gets under way. Light silken cordages connect the mast, the
bowsprit, and the small mast at the stern.
On each side of the vessel, there are bolted to the frame that
supports it five iron frames covered with canvas (Fig. 3), which reach
the level of the water line, and upon which stand the "supers"
representing the naiads that are supposed to draw the ship upon the
beach. Finally at the bow there is fixed a frame which supports a
danseuse representing the living prow of the vessel.
The vessel is drawn to the middle of the stage by a cable attached to
its right side and passing around a windlass placed in the side scenes
to the left (Fig. 2). It is at the same time pushed by machinists
placed in the interior of the framework. The latter, as above stated,
is entirely covered with painted canvas resembling water.
As the vessel, freighted with harmoniously grouped spirits, and with
naiads, sea fairies, and graceful genii seeming to swim around it,
sails in upon the stage, puts about, and advances as if carried along
by the waves to the front of the stage, the effect is really
beautiful, and does great credit to the machinists of the Opera.
We are indebted to _Le Genie Civil_ and _Le Monde Illustré_ for the
description and engravings.
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