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FRATERNITY
Wendy Waszut-Barrett
5 U M ~I E R
TD&T
A BEHIND-THE-SCENES LOOK
For the exJlibit at the Frederick R. Weisman Art ~luseum at the
uniYersity of Minne ota-Minneapolis Campu . the "audience" is greeted by a theatrical depiction of Hades reyealed
through a large windO\I' at the museum's entrance. Cpon entering the museum, the initial "audience perspective" is immediately exchanged with that of a "backstage participant."
Exanlining the extensiye incorporation of theatrical production into the fraternal framework. this exhibit I'iell's both the
public and private spaces from a yariet\ of popular yantage
points. Two thematic sections are explored in relationship to
these organizations' historical presence in American society:
"Why join?" and "Theatre of the Fraternity"
The question "Why join?" addresses the basic question of
Iyhy so many of our relatil'es at the turn-of-the-centurY were
attracted to the oyer 300 organizations. This personal appeal
is examined in four thematic sections: :\ \ation of JoinersAssimilation and Segregation: Facing Morlalit\'-Issues of
Death and Benefits: Victorian Knighthood-Paramilitarv Solidarity; and Decorating and Transforming ~lembers. A \ation
of joiners explores the perception of gender. ethnicity. and
race which all fraternal orgmlizations and female auxiliaries
provided \yithin a Yictorian context to their members. The
nation's oYert desire to join a stratification of society is portrayed through photographs and other personal momentos.
Facing Mortality is an alternatiye appeal \Ihich proYided to initiates a support strucllire of death and disabilit\' benefits prior
to the exi, tence of goyernmental as istance.
Yictorian Knighthood examines a para-military presence
of these organizations aCler the Ci\il \\'ar. Para-militarY uniforms and regimental struclUres enhanced complicated preCision drills and formations for both marching and equestrian
units. This compelling public image appeared across the nation in spectacular marching displays and many parade-re-
SECRET TRANSFORMATIONS
The passage leading from "Whr Join;" to "Theatre of the Fraternitr" pulls the mu~eum I'isitor from marching conclares
and national conl'('ntion, to theatrical productions through a
complex maze of artifact,. SOlllenir hooklets. ornate banners.
marching uniforms. elahorate s\\ords. plumed hats. and commemoratiye badges arc exchanged for the elaborate costnmes,
wigs, ornamel1lal jellelrr. and colorful scenery. The transformation from "Whl' Join;" to "Theatre of the Fraternity" signals
a threshold from the nineteenth-century "public" presentation
to the "prirate" realm of IIrentieth-century fraternal existence
and its duality. \X'here:L' a partial alteration occurred through
the additions of aprons. collars and ornamentation. a complete transformation resulted through adoption of elaborate
costumes similar 10 those found in the local theatres. The
lodge house hecune a safe place for \'ictorian gentlemen to
Iransform themse!les into kings. priests and other historical
TnJl.T
were exchanged by the end of the Victorian era for independent and specialized facilities that boasted of multiple rooms
for concurrent meetings, initiations, and social functions.
Similarly, the incorporation of elaborate scenic elements into
the dramatic initiation continued to \~sually enhance the ritual.
Extant artifacts range {rom hlU-scale historic backdrops and
costumes to conceptual drawings.
SPECIAL EFFECTS
characters from ancient times and exotic places. The)' exchanged starched coUars and pressed suits for silks, velvets,
and gold bouillon trims.
"Theatre of the Fraternity" covers four main thematic
points: Building the Temple; Fraternity as Theatre; Fraternal
SceneI')' of the Nineteenth-Century Tradition; and Emergence
of the Twentieth-CentUiy.
In the section titled Building the Temple, the construction
of a theatrical space is exanlined in relation to the increased
popularity and financial strength of the Scottish Rite. The earliest lodge rooms, often located over commercial businesses,
Tomb sketch created by the Twin City Scenic Co. for use in the 5th degree
Complementing the romantic scenery, a variety of scenic effects were incorporated from the populaHulnlre stage to enhance the initiate's experience. One impressive effect is an
interactive display that allows a fraternal member to be visually transformed into a skeletal form and then back again. This
theatrical device, termed "Pepper's Ghost," was a traditional
means of suggesting an apparition by projecting an off-stage
image onto a piece of tilted glass sinlated on stage. Other effects allowed various revelations of symbolic objects or unworldly scenes to be "revealed" through the utilization of
lighting boxes and transparent theatrical fabrics or gauze, Another display is the ark of tbe covenant which "magically"
appears and disappears again {rom behind a closed door.
These scenic effects were all produced {rom theatrical techniques commonly found in the popular-entertainment stage.
"Theatre of the Fraternity" also examines the distinct
style differences of nineteenth- and twentieth-century painted
scenery. The emergence of "modernism" is seen as fraternal
scenery reflected shifts in style prompted by improvements in
stage lighting ;U1d changing visual tastes, The earlier Victorian
scenery is dramatically contrasted with that representative of
the 1920s.
After 1929, scenery produced for the Scottish Rite did not
foUO'\' the new popular trends stimulated by the "\ew Stagecraft." Instead, the scenery continued to reflect the \~sual
genre of a past era dominated by the traditional drop and \\~ng
scenery. Thus, the Scottish Rite's theatre production preserved
a traditional form of theatrics rarely seen in the late twentiethcentury theatre.
A TRAVELING EXHIBIT
Theatre ofthe Fraternity: Staging the Ritual
Space of the Scottish Rite of Freemas0171J\
1896-1929 opens on Sunday, October 6, 1996
and runs through Sunday, January 5, 199 at
the Frederick R. '\ eisman Art Museum at the
njversity of Millnesota-MIDneapolis Campus (612-625-96 8).
C. Lance Brockman, gue t curator of tills
exhibit is professor and chajr of the Department of Theatre Arts and Dance at the Uruvel~
sity. For the past twelve years, Brockman has
exammed paintillg and construction technjques used in popular theatre, vaude\~lIe, and
the fraternal movement. Brockman previously
collaborated \~th the Unjversity of Minnesota's
Museum as guest curator of The Twin Ci~y
Scenic Collection: Popular Entertainment,
1895-1929 (AprilS to June 14,198 ).
Afully illustrated catalog (over 100 color
images) has been prepared for the "Theatre of
Fraternity" exhjbit. Contributors mclude: art
illstorian and material culturalist, Ken Ames;
hjstorian, Mark C. Carnes; sociologist, Mal1'
Ann Clawsoll" arcilltectural historian Willam
D. Moore, and theatre hjstorians C. Lance
Brockman and Lawrence J. Hill. The catalog is
distributed by University Press of Mississippi
(800- 3 - 88).
Funlre bookings for thjs exhibit include:
February to June, 199 at the Kent State ruversity Museum, Kent, Ohio. Tills exhibit coincides with the 199 USIrr Conference & Stage
Expo being held in Pittsburgh, only a couple
hours from Kent. From July 27, 1997 to February I, 1998 the exhibit will be at the Museum
of Our National Heritage in Lexjngton,
Massachusettes. In Februal1' and March 1998,
"Theatre of the Fraterruty" will be at the Unjversity Art Museum, Uruv. of Call1ornia, Long
Beach. Tllis booking \\ill also coincide \~th
the 1998 SIrr Conference & Stage E.xpo in
Long Beach. As part of the conference, there
\~ be a master scene painting class conducted by Lance Brockman Rachel Keebler
(Cobalt Studios) and Rhett Bryson (Furman
Uruversity). Contact the Weisman Art Museum
for additional bookings (612-625-96 8).
The
ntensive conservatory
training in the heart
of Chicago's dynamic
theatre scene
Highly selective
programs in Costume
Design, Costume
Technology, lighting
Design, Production
Management, Scenic
Design and Theatre
Technology
FaCUlty of
Professional Artists
The Theatre School
DePaul University
2135 North Kenmore Avenue
Chicago, Illinois 60614-4111
312-325-7999
1-800-4-DEPAUL, ext. 7999
(outside Illinois)
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