The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-04-25
DRAMATIC EXPRESSION.
Lecture by James S. Mackaye on Delsarte's Science
and Art of Dramatic Expression-Ths
Anatomy Of Gesture-The Analy-
sis Of Movement

At Steinway Hall last evening was given lecture
by young American which came rather as reve-
lgtion than mere EXPOSITION to the refined audi.
ence which had the good fortune TO hear him. The
gentleman was James Steele MacKaye, o native OF
Buffalo, in this state, and his subject the "Scence
and Art of Dramatic Expression" Elabo-
rated ana perfected by his great master,
Delsarte. Mr.. MacKaye is tall and SHINY built,
and one becomes little puzzled to think whether
his grace or carriage and nobility Of expression Is
entirely natural or the result Of Delsartes wonder
full system applied to himself. lie Is young
probably twenty-nve-and has q clear eye, a
prominent nose and not very heavy under jaw.
He is thin Tipped, but the expression OF the entire
face is something changcable that except in what
he is pleased to term its "normal" state, you
catch glimpse OF hun as he Is,
BRIGHT, INTELLIGENT, sPIRIrUALIzED
young man. Otherwise he appears whatever he
pleases nsipid interesting, over violent or over
cIvin-a lamb or wolf, speaking metaphorically-
protector or tyrant. His voice IS sonOrous and
pleasing.
The hall was not by any means full. but 1t con
tanned such q gathering OF men and women OF
high me ntal order as to make up: except !, IN
was that the lecture was Tor the benefit OF the first
philosopher OF dramatic expression which the world
has seen. There IL, however little doubt tnat r
Mr.. Mackaye repeats his lecture In the same cause
that there will be no complaint on this account.
AT eight O'Clock precisely the lecturer appeared
ana was greeted with applause. lie said:-
Ladies and gentlemen, once had q
friend, Frenchman who mad been INTRODUCED 10
not OF the best, ana he wrote me shortly alter
his visit that he found the Chief Justices family
VERY SHORT AND AGREEABLE.
Tonight may say ! am surprised TO ma my
50 short and ,s SO agreeable for
whose fame has been evinced In the statuesque
poses of passion OF the great Rachel IN the force
pathetic eoqucnce OF Pere Hyacinthe. They
were the pupils OF Francois Deisarte. lie
OF OF W9 ALL poesry He Is sublime orator. Of
whom Alexander, Basset. Baudn have written In the
highest terms OF praise describing MIN Us beautiful
in all the truth OF sentiment
THE PRoFUNDITY OF PASSION,
bringing the hear oa sn
development Of his science; the father OF
a devoted family ana Christian. Ihat In
rendering the works OF the pest masters st st ne
mind. I might spend the evening IN quotations
written in laudatlon OF man whom have known,
brave In adversely, to love whom is as natural as
life. He Is prisoner In Paris to-day, amld those
DloodthTsty demons who
all the economies OF his life swept away with fam.
lily, with daughters exposed to the chaos which there
ducc the culture OF America to provide fitting home
for the reception of the great man whose service
am TO give yoq ayae d Lecture INTO
f'''S' rue scIESrIrIc PRINCIPLES
of his system. Second an exposition OF few oil
the elements OF the art Third TO ON illustration OF
aesthetic gymnastics IL must be hasty sketch, ior
the subject is TOO immense for full detail. Volumes
nave been written on art, but in no one
has been formulated definite principles on when
TO perfect or criticise ar; art. s, NO on,
has devised system as u basis Tor Hsthetics. IL
was when youth at the Paris Conservatory that
Desar,e lound the first want Of tins When about
to make the stage procession ne found tnat ne was
forced to the alternative or
IMITATION or OTHERS OR TO FAILURE.
For about four years nc was on the stage, al'er
voice through the strain upon his vocal powers.
Tnenceiorth he became u hermit, not IN q desert
but In the midst OF taat busting world OF tenpta
ton PARIS over the door OF nis study was the In
scription, ale who rejects Time lime REJECTS. :
Tnus, as it were, taking Time INTO partnership, ne
science OF the perfection and criticism OF art a
science wne es 1e For @S
he dissected IN the Ecole de Medicines for twenty
1--WE years he mixed with the busy crowd, observing
| MOVEMENTS or FACES AND JOINTS,
/, bringing under his observation all the truths OF
nature and science. For fifteen years he has con-
forth the result OF his labor IN automatic FORM The
first consideration IL, what Is artY Desarte dehnes
MOTION PASSED THROUGH THOUGHT
and fixed In form. The acme OF this Is 10 subject
anything to the deepest scrutiny OF thought and Tx
| 1t in the nobesL form. The science has the
same Technology throughout. 1t depends on
three great principles, the infalliolllty o
winch have been well tested. The Trim
tyr is the immutable law which governs
| all developments. This IS not theology, bu
| a light showing the true source Of the harmonies
| The principles must be co-cxstcnt. co-necessarl
ana co.enlclen 90 not purpose to discuss, but 4
illustrate them. Dramatic expression Is mani
festation oil thought by movement, and us science
anu art cover the agents II employs and the forms
| assumes. Human nature Is u form OF being that
LIVES. THINKS AND LOVES.
4 Its seats the VITAL the mental and the aueC
/ tonal. These answer TO the life the mind and tn
| soul. These three arc all SO intermixed that the
| each exhibit certain phases OF the other. Thu
vitality Is the source OF passion OF sensation or fee
ing, but 10 has instinct which ls the mind OF IN
vial, aud sympathy, which Is Its soul. Induction
the mind OF the mind, but judgment Is It's vitalit
ana conscience Its soul.
LOVE Is THE SOUL OF THE SOUL,
but afYectOn Is Its vitality and intuitlOn Its minC
do not now go into the inner organisms, but cor
| Germ myself with the outer gestures OF EXPIRE.
sion. In the vital mans mouth expresses the repe