The sun. [volume] (New York [N.Y.]) 1833-1916, 1876-05-21
AM UsEMENTs
Form IN the Drama Its Importance, and How
IL IL Realized.

The idea of form Is as truly the founda-
ton Of the dramatic as OF any other art. or IL
the author, the actors, and the stage manager
must have true and clear conception as neces-
sary preliminary conditions to the most perfect
possible representation. An authors exquisitely
formed creation may be deformed by the actors,
or the excellent work OF author and actors
individually considered, may be marred through
the incompetency OF the manager. No dramatic
composition At only for the stage can be
deemed complete till II is acted. The best writer
must depend upon the players for expression,
and the proper grouping and subordination OF
these is, to great degree, In the hands Of the
director. In the first place the writer must not
only be able to conceive symmetrical work,
clearly defined, and comprising a completed
action and interest, but he must have the power
and skill to indicate this conception plainly and
fully. In the second place the actors must
clearly perceive these outlined proportions each
must see and measure the relative prominence
of his part, and the shape which that part should
have, In order that when all are combined into
one whole that entirety shall have due proper
tions and properly distributed strength In the
arranging what Victor Hugo calls the perspective
Of the representation, devolves on the manager.
III he be unequal to the task, the finished work,
as shown upon the stage must be more or less
deficient In an elementary and most Important
quality.
but the responsibility resting upon the stage
manager In no way lessons that which each actor
assumes. Whatever the part, IL has some proper
form, some Just proportions, and all others are,
in a greater or less degree, improper IL has
also its right relative position In the whole work.
and every other Ii wrong. Nor can defects OF
this Kind be compensated by the exhibition OF
any amount OF il-directed force, or any degree
OF timidity, which but aggrayatc tho fault II
Il better that the part should be realized on a
scale somewhat smaller than might be desirable
than that Il should be distorted aud defOrmed
through vain efforts to make II great In size. III
a
which to make a statue, he will be careful not to
any part, but will establish the scale OF his work
according to the amount OF clay at his disposal
and will always keep well within his limits
that he shall always have some in reserve. His
creation, II not massive, may yet be perfectly
proportioned; when finished. true and ex-
qulslte work OF art. An actors artistic strength
which Is sometimes impeded In Its action by
want OF physical vigor, is to him, In some sense.
what the clay under his control Ia to the sculp-
tor. when, from some cause, the quantity of this
plastic material is limited And he must regu-
late its use In giving real form to his conception,
as would a sculptor the consumption Of his clay
In the circumstances supposed. In this way he
may achieve a nearly perfect work, without be-
trayng any restraining natural deficiency. The
principles here briefly discussed well under
stood by few Of our managers and actors,
while by very many they seem to be not at all
comprehended. The true artistic instinct must,
however, feel their Importance as soon they
receive moderately profound consideration.