CLAQUE (from Fr. claquer, " to clap the hands," or "applaud") is the name given to a contrivance for securing the success of a public performance or production, by bestowing upon it preconcerted applause, and thus giving the public, who are not in the secret, a false notion of the impression it has made. This artifice first came into opera tion in theaters and concert-rooms, and arose from friendly or party motives; but it is to be feared that it has spread into other departmenis of public life, not excepting even parliaments.
It was in Paris that it was first regularly organized and turned into a trade. One Sauton, in 1820, established an office for the insurance of dramatic success (Assurance des Succes Dramatiques), and was thus the organizer of the Parisian "claque." The directors or managers of a theater send an order to the office for whatever number of "clacters" they think necessary. If the success of apiece seems doubtful, as many some times as from 300 to 500 of these people are furnished with gratis tickets, and are often instructed at the rehearsals at what particular places they are specially to applaud. How minutely the art is organized, may be seen from the exact division of functions among the several claquers. The " commissar" is bound to learn the play by heart, and call the attention of the audience about him to the various beauties of the piece; the "ricur " must laugh at every jest; the "pleureur " (weeper) has to manifest his sensibility at the moving passages. This last part is generally assigned to women, in whom the frequent use of the handkerchief seems most natural. The " chatouilleur " (tickler), on the other hand, endeavors, by distributing bonbons, snuff, theater-bills, etc., and by lively con versation, to keep his neighbors in good-humor; and lastly, the " bisseur " calls encore! with the utmost enthusiasm, at the conclusion of the specified pieces of music.
The following incident, which found its way into the newspapers on the occasion of the death of the famous French actress, Mademoiselle Rachel, shows the ludicrous seriousness with which the members of the C. view their singular profession: Mademoi
selle Rachel had just created a new character in a modern piece, and during the first evening, was loudly applauded. The next, however, she thought her reception by no means so warm, and she complained of it, adding that the C. did not do its duty. It turned out that the head of the C. had been ill, and that his place that evening had been supplied by a confrere from another theater. This individual, on hearing of the com plaint that had been made, wrote to mademoiselle as follows: "MADEMOISELLE—I can not remain under the obloquy of a reproach from such lips as yours! The following is an authentic statement of what really took place: At the first representation, I led the attack in person not less than 33 times. We had three acclamations, four hilarities, two thrilling movements, four renewals of applause, and two indefinite explosions. In fact, to such an extent did we carry our applause, that the occupants of the stalls were scandalized, and cried out, 'A la pone!' My men were positively extenuated with fatigue, and even intimated to me that they could not again go through such an evening. Seeing such to be the case, I applied for the manuscript, and after having profoundly studied the piece, I was obliged to make up my mind for the second representation to certain curtailments in the service of my men. I, however, applied them only to MM. —, and if the ad interim office I hold affords me the opportunity, I will make them ample amends. In such a situation as that which I have just depicted, I have only to request you to believe firmly in my profound admiration and respectful zeal; and I venture to entreat you to have some consideration for the difficulties which environ me." The allegation that in London theatrical artists and managers are obliged to endeavor to insure success by means of a similar institution, is strenuously denied. Although no public offices of the kind have yet been established in Germany, the artifice is exten sively.practiced, to the perversion of the public judgment and the detriment of art.