Magic, Stage Illusions and Scientific Diversions, Including Trick Photography by Albert A. Hopkins

Author:Albert A. Hopkins
Language: eng
Format: mobi, epub
Tags: Magic tricks
Published: 2014-03-26T16:00:00+00:00

FIG. 2.—ODOMETER FOR VESSELS.

* * *

BOOK III.

SCIENCE IN THE THEATER.

* * *

CHAPTER I.

BEHIND THE SCENES OF AN OPERA HOUSE.

It would be difficult to find anyone who would not like to go behind the curtain of a great opera house to see how realism is given to the performance, and, incidentally, to gain an insight into that mysterious world upon the stage which always has such an attraction to opera-goers. Before describing in detail the commodious stage of the Metropolitan Opera House, New York City,[13] we will consider for a moment a typical English stage which is the predecessor of most stages in America. America is unfortunate in having so few really great opera houses, so that the description of the English stage will answer for most of the theaters and opera houses, with the exception of the Metropolitan Opera House and the Auditorium in Chicago, both of which have features of interest. For our description of the English form of theater stage we are largely indebted to a series of papers by Mr. Edwin O. Sachs, architect, in the London “Engineering,” beginning January 17, 1896, and appearing at irregular intervals for a year and a half. This valuable series is most profusely illustrated, and forms a treatise of great value. Mr. Sachs has written other works on opera houses. In this connection may be mentioned the French work “Trucs et Décors,” by M. Georges Moynet, architect. This book is of rather more popular interest than the series of Mr. Sachs. It describes the ordinary equipment of the stage, but includes the obtaining of special effects on a large scale. The modern adjuncts of the theater stage, such as hydraulic platforms and bridges, are not neglected. Many of the illusions which are illustrated in the present work are described in it, and at least one of them appeared first, we believe, in the “Scientific American.”

[13] The editor is indebted for courtesies to Mr. William Parry, stage manager of the Metropolitan Opera House; to Mr. C. D. McGiehan, the stage machinist; to Mr. Edward Siedle, the property master; and to Mr. Stewart, the electrician.

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