, 1885-04-02
CARPENTER mo pRopgRTY-MAN.
BnildinK stage sesnery-Use OF PApIer-
sfachs-Ltse rPropsr a Bother.
~ ~. LnH SIN Int.rrl... -

BniIdinK stage scsnery-Use OF PApIer.
sIach--Lise eProps" a Bother.
New York Sun Interview
The carpenters shift all scenes, and SGT
them according 10 the plans Of the scenic
arts. In elaborate scenes, where ground
c~loths-painted floor cloths-are used. the
artist generally marks with lines the exact
places and angles at which the various
pieces Of the scene are to stand. In inter
iors, whore ceilings are used, the decorative
lines OF the borders are the guides for the
walls of fat. Thu fnaster-carpenter who
has constructed the framework OF the scenes,
Is, OF course, familiar with the general de-
sign. but in the exact adjustment he Is under
the orders OF the scene painter. As I before
said, the carpenter and his assistants work
all traps, borders drops aud the curtain.
In New York theatres there are from eight
to sixteen carpe nters and assistants, who are
known as grips Tho grips work only dur
ing the performances, and receiys 81 for
each representation The master carpenter
has one or more regular assistants, who
work In the daytime building scenes, and
who are paid a regular weekly salary.
To the property mans department belong
al furniture, carpets. curtains, ornaments,
and all the small articles used by actors. and
known in theatrical parlance as hand or
side props. Among these are letters, books,
guns pistols, knives, purses, pocket-books.
money, lamps, candles, cradles, and doll
babies Live props, such as dogs, cats, billy
goats, donkeys and horses, are also under
his charge, and are much disliked, as caus-
ing n vase amount OF trouble. Tho side
props are taken from tho property-mnn
every night by the ~cali-boy, whose duty is
20 deliver them to tho actors and return
them after they have been used to the prop
erty-room- A good property-mAn is hard TO
find, for he m ust be something Of a carpeD-
ter. an artist, a modeler. and a mechanician.
Paper-mache has come OF late years 70 DO
largely used in the manufacture OF proper
ties, and nearly all the magnificent vases,
the handsome plaques. tho graceful statues,
and the superb gold and silver plate seen to-
day on the stage are made OF that material
Some Of the imitation china are SO per-
fectly done and so admirably painted that
It is not unusual to see III actor tap them to
lind out II they are real In making statues
a cast is taken from the clay, and the pulp
is then firmly pressed into the moldS Life
size statues which seems 10 be Of bronze or
marble do not weigh more than five or six
pounds, look just as well as the genuine, and
a re easily and quickly handled. For trav-
cling purposes the saving In freight nlone Is
n great economy. Entire suits Of armor and
fruits OF all kinds are made OF this useful
and inexpensive material.
In most New York theatres the property
man has one regular assistant and two night
aids, who are needed TO handle heavy car
pets, pianos, and furniture In the old days
carpenters and property men were often
prone to dispute about the exact lines which
divided their duties. but In welLregulated
theatres the departments are now generally
willing to help each other. Still, a carpen-
ter or grip is not actually bound to put n
finger TO a carpet or piece OF furniture, nor
Is a property man, even II not occupied,
obliged TO help with a scene. Some Of the
distinctions dra wn by custom seem to be
singular; thus. a whole tree, Il set upon the
stage and screwed to IL for support, Is con-
sidered Il part OF the scene, and, as such. be-
longs TO the carpenters, while a stump upon
which a porson may sit IS in the property
mans department. Again, a Hight OF stairs
Is set up by the carpenter. but IL a carpet is
put on it, that must be done by the property
mau