Applause for the Performers

Sun (Auckland), Volume 1, Issue 102, 21 July 1927, Page 12

Applause for the Performers

SOME EARLY CUSTOMS THE “ENCORE NUISANCE” (Written for THE SUN.) Although nowadays accepted more or less for what it is worth, as a measure of appreciation, the clapping of hands was once a usual part of an orchestral performance. A bas-relief found among the ruins of Ninevali, now in the British Museum, represents a procession of musicians. In front are men playing instruments, while following them are a number of women and children, probably singing, but certainly clapping their hands in time together. In this the Assyrians were following a well-known Egyptian custom. The Hebrews are believed to have acquired their high musical attainments during their captivity in Egypt, and references to the clapping of hands as an accompaniment to musical performances are common in the Bible. "O, clap your hands together, all ye people; sing unto God with the voice of melody,” is a familiar quotation. Historians believe that the clapping supplied a rhythmical element to the ancient music. EFFECTIVE MEASURES They also relate that the behaviour of an audience in an ancient Greek theatre with regard to the expression of its pleasure, or the reverse, was very similar to ours at the present day, although more appears to be known about the showing of disapproval than of praise. Saul’s throwing of a javelin at David seems to be the first recorded instance, but historians record the fact that the Greeks used to pelt the unfortunate performer with stones if he disappointed them. Another very ancient practice is that of hissing, perhaps in imitation of snakes. This sound of hissing was often increased by the Greeks by the use of reeds and whistles, while the Romans blew a shepherd’s pipe when not satisfied with a performance. Our word "fiasco” is supposed to be derived from this practice. "Fiasco” formerly meant a bottle, which the shepherd’s pipe rather resembled. Even now the Italians sometimes cry "Ola, ola, fiasco,” when a singer fails to sing truly. Most people consider that sacred music should not be applauded, particularly when sung to Biblical words. It is certainly an outrage to follow such a solo as ‘‘He Was Despised” with applause and noise. In the early days of Christianity it is recorded that-audible commendation in church was quite common. Gregory Nazianzen, in the fourth century,, when asked to explain a certain text, answered: "I will teach you that at church, where, when all the people shall applaud me, you will be forced to know what you do not know, for if you only keep silence you will be looked upon as a fool.” This passage is quoted in "Ancient Mysteries Described.” While applause was allowed in a sacred building, it was prohibited in theatres. PAID APPLAUSE At one time encores were forbidden in France, as well as the calling of an author before the curtain. This rule was first broken in 1789, when Lemoire was called on the stage after his opera "Nephte” was performed. It was the withdrawal of these restrictions that led to the most extraordinary feature in the history of applause. In 1820 a body of hired applauders, called a "claque,” was originated in Paris. These claquers were divided into no fewer than five sections, one of which committed the piece to memory, and were loud in pointing out its merits; another laughed at the puns and jokes; another, chiefly women, wept at the touching episodes. The function of other members was to keep the audience in good humour, while the duty of the fifth section was to call loudly for encores. As many as 500 of these people were engaged for one performance, and they became powerful enough to exercise real tyranny. France was not alone in being victimised by this system. It got a foothold for a time in England, but never to the same extent as in Paris. The ancient Romans, we read, had their "Laudicoeni,” who were men hired to attend a banquet and praise the host’s generosity. From these early customs has gradually arisen the practice of applause, nowadays termed by many concertgoers, and also artists, as the "encore nuisance.” To applause accorded impartially to one and all little merit is attached. In many instances it not only constitutes a hindrance to the continuance of a programme, but also interferes with the logical sequence, and sometimes the artistic effect of bracketed numbers, often aimed at by artists. A.E.L.