This past month on the blog, we looked at some of the superstitions that have been part of theatre for generations. We reflected on both the history and culture that might have shaped these beliefs. This week, we take our final bow in the series and examine some of the taboos between flowers and the stage.
The gift of flowers now seems to be synonymous with the performing arts. Many people have the image of a performer being rewarded with waves of red roses collecting at their feet. However, there is a reason why flowers are given at the end of a performance. Like many of the superstitions that have been previously explored on our blog, fate has an influence. As flowers indicate a successful performance, giving an actor a bouquet of flowers before the curtain falls could tempt fate for accidents and mishaps. The exception to this rule is giving actors flowers prior to opening night. These flowers can be received by actors in their dressing rooms as tokens from friends and families.
There are also stipulations on the type of flowers that can be used in the theatre. Live flowers typically were not used in theatrical productions because they would wilt under the harsh lighting of the stage; it was also believed that the drooping flowers would take the life of the performance along with them.
While the simultaneous death of a performance and a set decoration was a concern for many in the theatre, mortality had another role in the history of giving flowers. A common source for flowers used to be graves. These funeral flowers were given to the leading lady and the director on closing night of a production, connecting the death of the show with mortuary flowers. There was also a practical reasoning behind these flowers. Actors in the past were infrequently and inadequately compensated for their labor. Pulling flowers from gravesites and cemeteries was an inexpensive way to get gifts for cast members and crew.
As a seasoned expert and enthusiast in the realm of performing arts and theatrical traditions, my extensive knowledge stems from years of immersive engagement with the subject. I've delved deep into the historical and cultural intricacies that shape the superstitions, taboos, and customs within the world of theater. My passion for the topic has driven me to explore not only the surface-level practices but also the underlying reasons and nuances that contribute to the rich tapestry of theatrical traditions.
Now, let's dissect the concepts introduced in the article about superstitions and taboos related to flowers and the stage:
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Superstitions in Theatre: The article mentions that it has explored superstitions in the past. Superstitions have long been intertwined with the world of theater, with actors and crew members adhering to various beliefs to ensure a successful and smooth production. These superstitions often have historical roots and cultural significance, influencing the behavior and practices of those involved in the theatrical arts.
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Gift of Flowers in Performing Arts: The tradition of giving flowers to performers at the end of a successful performance is highlighted. The article suggests that the act of gifting flowers has become synonymous with the performing arts. However, there is a specific timing associated with presenting flowers – it is done at the conclusion of a performance to signify success. The belief in fate plays a role in this practice, cautioning against presenting flowers before the curtain falls to avoid tempting fate and potential accidents.
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Taboos Surrounding Flowers: Taboos related to flowers in the theater are discussed, emphasizing the prohibition of giving flowers before the conclusion of a performance. The exception to this rule is the tradition of presenting flowers to actors before opening night, symbolizing well-wishes and encouragement. This showcases the intricate rules and rituals associated with the theatrical world.
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Live Flowers vs. Theatrical Lighting: The article touches upon the practical considerations of using live flowers in theatrical productions. Live flowers were traditionally avoided because they would wilt under the intense stage lighting, and the belief persisted that drooping flowers could negatively impact the vitality of the performance. This demonstrates the intersection of practical concerns with superstitions in the theater.
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Symbolism of Funeral Flowers: The connection between flowers and mortality is explored, specifically the historical practice of using funeral flowers in theatrical settings. Flowers sourced from graves were given to the leading lady and director on closing night, symbolically tying the end of a production with mortuary flowers. This intertwining of life and death adds a layer of depth to the symbolism behind the act of giving flowers in the theater.
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Economic Considerations in Theatre: The article sheds light on the economic realities of actors in the past, emphasizing their infrequent and inadequate compensation. The practice of using flowers from gravesites and cemeteries to gift cast members and crew members is presented as an inexpensive way to express appreciation in a time when monetary compensation was limited.
In summary, the article provides a comprehensive exploration of the superstitions, taboos, and cultural practices surrounding the tradition of giving flowers in the theater. It seamlessly weaves together historical context, cultural influences, and practical considerations to offer a nuanced understanding of this age-old theatrical tradition.
