New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1861-11-18

confidential friends. there was no certain knoWieugo
whether this freedom was the result OF accident or
of Deliberate choice. Not having been trained on
the English stage it was just possible that he mlgh'
have gone his OWL way, simply for want OF guide'
But in Othello he takes far more decided pOsltlon
and shows that he il free man, not only In prac-
tice, but in theory. On tie first night Of perform
ance, "Charles Fechters acting edition OF Othell0
was widely circulated and the dedication TO Richard
Lane, esq, following the ttle-page, embodied the
arist-editor's profession Of faith. The world was
thus informed Of NJ. Fechter's conviction that
" Shakespeares plays were certainly written to be
acted, not recited" laproposilion more pregnant with
meaning than is apparent at the first glance and OF
the fact thai bis mode Of treating Shakespeare was
(" the fruit Of nearly twenty years unceasing labor
Of love for the scenic representation OF the Great
Master" Further, aspirants were urged to "press
forward to zap the foundations of that worm-eaten
aud unwholesome prison, where dramatic art Ian
ouishes in fetters and which il called Tradition"
Having thus declared, not only that he is himself
independent of tradition but that all his successors
should destroy il az "worn-eaten and unWhole-
sone prison" NJ. Fechter deliberately propounds his
own view Of the manner in which Othello ought TO
be represented. His instructions are conveyed, not
in the form Of essay or note but by means OF stage
directions, far more copious than those manuscripts
regulations which are ordinarily 10 be found IN our
old prompters' books. The personages are not Only
informed on which eide they are TO make their Ell
frances and their exits where they are TO slI anu
where 20 stand but the details OF their movements
are so closely described that the directions almost
comprise an indication OF thoughts and motives sup
Elementary to the text. For example, Othello, who,
in this new mode of representation, is wiring dis
patches at table when Iago commences the attack
on bis serenity Of mind Is instructed at one point,
to look at bis ancient, and play with his pom rs he
speaks. 4 few seconds aferward, he is 10 turn to-
ward Iago, who is TO stand silent. Then he is 70
lay down his pen, and look at lago with more atten
tion and presently he is to Use without leaving the
table, smiling If in rsillery All these directions
are given within the limits OF single page; aud
our readers viii perceive what vast amount OF
instruction II pages must contain. JUDGED, If any
one who is prevented from visiting the Princess
Tbcater BY distance, govt OF Puitancai pre- ddlce,
wishes 10 know the plan on which things arg done
there be has only 10 invest shilling IN the purchase
OF NJ. Fechters book, aud he will learn alnOs' as
much about the matter by occupying the best seat
10 the stalls. Our daily contemporaries have been
more than usually minute in their description OF the
artist pecuarites but their record bears no more
proportion TO the artists description Of himself than
Goldsmiihs History OF England to the ponderous
tones OF Rapin.
NJ. Techter is most logical actor. With all his
determination TO be original and unietered, he does
not devate from the prescribed path without warrant
from the text, or at any rate, without full CONVICTION
that there is nothing IN the text that can be opposed
10 ms innovations. But is not his logic little AT
fault B his broad theory respecting tradition While
he denies tie authority Of every actor Of Otheo down
70 this wear Of grace Of 1861 he lays Down rule for
future Otbellos far stringent than any winch Is
based upon ancient precedent The old path was, at
all events, but vaguely defined; whereas we have
now a routine from which it is impossible to stray
one inch without violating printed law. The next
Othello must have all his wits about him, or be will
not utter consecutive lines without SHINING against
tho Fechterian canon. Perhaps we should say that
something like application OF Imperial logic is TO
he found in this seeming inconsistency. The French
man las oyerhrown all the traditions Of the Bour-
bons-crgo he is free. The artist who ignores the
precedent of the hembles and Keans IL free likewise.
As for the NapOleons and Fechters, they are, Of
course, symbols of perfect liberty.
/ Whether b. Fechter's Othello will be 90 gener-
ally admired as his Hamlet is doubtful, for that
inability 10 give weight 10 emphatic sentences, which
felt when he performed the latter character, il
still more conspicuous in his personaion Of the fiery
Moor. He never reaches that hurricane Of rage
which carries a multitude before it. and though the
peculiarly that certain celebrated speeches not
marked out from the rest OF the dialogue may be the
result of the theory that Shakespeare is 10 be acted,
not recited, we can hardly suppose that the COM
paratve neiciency Of the eacuatory passages is to
be attributed to any hypothesis whatever.
The RegietO concludes by calling such perform
ance of infinite use 10 theatrical art"