The New Orleans bulletin. [volume] (New Orleans [La.]) 1874-1876, 1875-11-07
FRENCH AND ENGLISH ACTORS.

born actor" is so often heard, that we naturally
" made to analyze the cause and method by
which this superiority over the Engllsh-speaking
actor is attained. All theater-goers have OBJ
served that the moment the latter steps before
the footlights, he passes into another and en-
trely different sphere, which seemingly changes
his very nature. Years of experience and culture
rarely succeed in divesting him Of q painful
sense of restraint, which constantly asserts itself
in word look and gesture. In private life he
may be the most natural, polished and intelli-
gent of men-easy and graceful in manner,
charming in conversation-yet the moment 9
steps upon the stage he becomes more or less 8
"lay figure" with rigid joints, glazing eyes, and
chronic strut. His lines fall from his lips with
stoniness the most carefully chiseled ele-
'quence fails entirely to conceal.
Even such accomplished actors as Messrs JEFF
fe,son, Booth and Owens, in all their years of sue
cessfu study, have not succeeded in thoroughly
overcoming this obstacle, and are to-day, as all who
have known them socially will attest, much bet
ter actors in private life than in public. Unlike
the French and English actors, they never sue
coed in being themselves upon the stage. The
strings and wires of metho are never completely
concealed. An artificial atmosphere ever sur
rounds them, in the nature OF a fatality. Against
this, what is known as the "new school of act
ing !" has striven honorably, laudably, and, it
must be confessed, with much success. But it is
too much to expect it's entire eradication in one
day. In the meanwhile the French stage pre-
sents by far the best model for dramatic study.
r. q vi 10 20 hat haI in ia
very rarely seen upon it. The novice steps from
the drawing room to the boards without indicat-
ing any sense of the charge. Neither voice, look
nor gesture unde,go any apparent alteration.
He appears always self-relant, graceful and at
home He walks naturally, talks naturally, looks
naturally, and with his innate sense Of art is
always more or less picturesque antA pleasing.
He may fail il intensity, or even in comprehen-
sion Of character, yet he ever wins our sympathy,
even if he does not command our appreciation,
and we all the more readily pardon his short
comings.
The Opera Bouffe Troupe now performing at
the Varieties Theater, affords striking llustra-
ton in point. This company was obviously
selected exclusively with regard to musical con-
dtions and requir emens-dramatic merit being
alton. Estimated from the latter standpoint, it
is merely an ordinary accident, selected haphsz-
ard, as it were. In it few veterans appear side
by side with the freshest novices.
Yet. with all these apparent disadvantages, it
is safe to say that better acting has rarely never
been Witnessed BON the boards of this city. In
ease and elegance of rendition, display of artistic
taste, conscientious and careful study, enthused
spirit and thorough effectiveness, it may well
serve as model to very many American actors
who already blaze in the brilianey Of giant type
and march to glory through the columns of the
| daily press.
New Orleans has lately been exceedingly fruitful
of amateur actors, and bids fair to heavily recruit
the profession from their ranks. These aspirants
have now at service school worthy of their care
full study, which, if it teaches nothing else, will at
least illustrate fully to their comprehension that
great difference between the Fro Oh and English
speaking actor, by some considered innate in
nature, but which is, after all only due to natural
| causes.
| In common with the average American, it is
the fault Of the actor to imagine that " he knows
it ALL he has "learned everything" Success
with him if not won at bound is not worth the
wioning. Any but the royal road is beneath his
indignant notice.
| tits different with the people Of other coun-
tries, who, through privation, have learned the
value of patience, the Importance of detail, the
power of persistency, and the advantages of
system. They necessarily study their pr fession,
while the English-speaking actor, in compare
tive sense, does not. Seemingly, in this lies the
sole secret of excellence. When our actors and
actresses descend from their self erect pinnacles
ofvanity, and come to comprehend their thorough
identity with other laborers for daily bread
when they are brought to regard the public in
the light of patrons, instead of victims; when, in
short, the profession gets SO crowded that the
weakest will go in droves to the wall, then We
will no longer have occasion to point Out the
super-excelence OF the French to the English
actor, or to hold up an opera boufe company as
school OF dramatic art that cal be proftably
attended by professed interpreters of Thespic
art.