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a momentary
digression. It relates to the definition of art in the abstract. In the early portion
of our inquiry,
we touched upon the great difficulty of answering, and the numerous attempts
made to
answer, the question "What is Art?" To make another attempt may be to dis-
play unjustifiable
temerity, but here it is:
Art is work which stimulates imagination.
Be that as it may, however,
there can be no doubt that it is the exercise of imagination which prevents an
artistic effect
from being destroyed by foreknowledge--a fact well worth remembering.
CHAPTER VII
Effects of Transition
I
N ADDITION to the two chief classes of effect, respectively associated with
surprise and repetition, there is a third to which reference has been previously
made-the class which depends upon the gradual and visible development of
some
mysterious change. A typical example is the so-called "Pepper's Ghost" ef-
fect, invented by
Silvester some forty years ago. Another familiar type is that of "The Growth
of Flowers." But
there can be no possibility of mistaking the classification of such effects as
should be placed
in this category. They are characterized by the distinctive feature of compara-
tively slow
progression, in contrast to the sudden effects associated with the methods of
surprise.
Although less often employed than the two chief classes of magical effect,
the effects
of transition are by no. means of less importance from an artistic point of
view. Indeed,
owing to the mere fact of their comparative rarity, they appeal strongly to an
artist's
appreciation. They should be less liable to become hackneyed, and the diffi-
culty of inventing
novelties in connection with them should enhance their value as a class.
Unfortunately, however, such is far from being the case in actual practice. It
ought to
be so, but it is not. In this, as in so many other instances, "ought stands for
nought." The very
rarity of original productions of this kind tends to defeat its own ends. There
are so few of
them, and so many want to present them, that a new effect of transition is li-
able to become
worked to death in a very short time. Further, it must be remembered that a
rare effect
usually creates a far greater degree of public excitement than one of more ste-
reotyped form.
It is more talked about, more people come to see it, and thus it more quickly
becomes stale.
Nevertheless, in this class of effect there still exist great possibilities, both ar-
tistically and
financially. There is still a wide field of useful work in this direction, which
may be found
well worthy of cultivation.
In illusions based upon effects of transition, the question of artistic treatment
is of
especial importance. Indeed, now and then, the problem of presenting them in
the best
possible way to insure due appreciation is one of extreme difficulty. The in-
stant appeal to a
spectator's perception which naturally attends a surprise is entirely lacking.
The cumulative
effect built up, step by step, in the case of a repetition is equally unavailable.
It follows,
therefore, that the adequate presentation of an effect of transition usually in-
volves, in some
respect or other, procedure which differs more or less from that which would
be advisable in
other conditions. We shall endeavor to ascertain, with the aid of common sen-
se and practical
experience, the nature of the principles which should govern our procedure
when dealing
with effects of this special class.
Here we may at once set down a rule which common sense and experience
must
inevitably endorse to the fullest possible degree. Yet, at the same time, unless
the dictates of
those able guides are clearly understood and remembered, the principle un-
derlying that rule
may easily become lost to sight. Hence the necessity for a definite statement,
as follows:--
(15) When presenting an effect of pure transition, the first and most import-
ant
essential is the avoidance of every possible cause of distraction.
Let there be no mistake about this. Although the rule is merely a specific
application
of the principle embodied in Rule 4, the extreme importance of that principle
in the present
instance justifies the utmost insistence upon the necessity for keeping it in
view. Stated
plainly and simply, the fact to be remembered is that, while an effect of tran-
sition is in
progress, nothing else of importance should be allowed to occur-that is to say,
nothing which
tends to produce a definite impression upon the minds of the spectators. The-
re should be no
sudden change in any of the conditions attending the development of the ef-
fect. Only such
movements and sounds as accompany the commencement of the transition
should be
permitted to occur; and, conversely, such sounds and movements should con-
tinue until the
effect has been completed.
For example, an accompaniment of soft and flowing melody is a most useful
adjunct
to effects of transition. Rhythmic and continuous movements on the part of
the performer-as,
for example, mesmeric passes or silent incantations-are also advantageous, as
a rule. But if
such adjuncts are to be employed, they should accompany the transition from
start to finish.
The only case in which a departure from the letter of this law is advisable, is
when the effect
occupies but little time and culminates in a definite surprise. Say, for instan-
ce, on the stage [ Pobierz całość w formacie PDF ]