, 1866-11-11

other phas. Of French sensatiouallsm, which
In It's popularity Is hardly second to the one
mentioned above, but which Il more confined
to Paris, and to certain class of people In /
Paris. The phrase which Is usually npPlled.
and best expresses the character OF plays
produced here Is that Of blood and thun-
der" 1t Ia mainly patfonized BY tho work
Ing classes Of the capital, and In It's features
more nearly resembles the old bo~ery
Theatre of New York. "Clairyoyance,"
played In this city sometime stnce, htr
sample Of the plays produced.
Besides numerous representative theatres
Of tho classes Indicated, there arc smaller
ones dotted here and there In the suburbs OF
the city, some Of which are highly sr1sto-
cratic, and others the very opposite. This
depends OF course on the class ofpeople who
inhabit the particular quarter In which they
arr situated; for every degree OF French 60
ciety fluds its own level aud chooses It's
abiding place with reference to congenihl
surroundings. Many Of these edlaees in the
more fashionable faa6ourys are private prop
erty, and often the scene oil amateur per-
fosmances, for the love Of acting extends to
all the French people, high and low.
The assertion that the French theatre or
drnma Is perhaps superior to every other, Is
based not so much upon the present popu-
larlty of their sensational plays, or the num-
beror grandeur Of their Thespian temples, as
upon the national talent for acting. Actual
| genius Is not 80 often met with, or at least Is
not 50 prominent, because the talent
Is almost universal. The principle OF imita-
tfvcness which metarhy ys'cians hare declared
to be An integral part Of mans Organization,
seems to enjoy larger sphere in French
composition than in any other. It must at
III times be intuitlve, and Is devel-
oped in different degrees In different indi7id-
nails. But every Frcnchman and every
Frenchwoman possess more or less of 1t.
When 1t is not brought out on the mimic
stage 1t appears In private lifs- It u one o1
the largest tributaries to their Tell-know
sprightliness in conversation. It Is catching,
too. While It accounts in great measnre
for their social rfr5e'te, It Is Of the greatest
value on the stage, aud renders their comic
acting almost iu{nltab1c.
Another prominent feature Of French act
ing is total Inconsistencies on the pnrt o.
the player that there Is IN audience. Thti
too, ia na tona!ly inherent characteristic
Of the people, and IL private life contribute
largely to the peculiar grare nf French 40
mel. But on the stage, 1t is the very secTe
OF good acting and the consequence Is a,
a1dndon or an carncatness, which makes min
icry real md lifclikc.
The theatres are constructed, almost with
out exception, with closed auditorium. th
1obbies being partitioned In such wav tbs
I no noise Of walking or talking can disturb
the performances. Most Of them are lisnts
from the dome and not one gas Jet Is visibl
In tue lower part Of the house, i
which way the auditorium can be com
pletely darkeued. and stage effect
+ much Improved. The M4s N seeae Is alway
, perfect. Each net is generally complete Il
, one scene, so that the aeenes arc made com
pact, walled and rooted. This DOES ava
= with NIL noise from the stage, the disagreea
bic and awkward shifting Of scenes, an
Q presents In every way more natural NJ
:. pcarance. Tbcrei is one relic OF old fogyist
, which might we'll be discarded. Immediate
u IL before the raising Of the curtain. instea
j. Of tapping bell rs signal, the hous
$ echoes from loud and prolonged poqnd'u.
$ which the prompter behind the curtain
complishes with the assistance Of a hu.
! stick Of wood. Then all Ia silent, the Gu
= tain rises, and the performance begins.