The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-10-06
lMUsEMENTs.


~ INV N'llNl uIN NOHNiIluhhD NONcIN Nut Nbuihu
and the actress in all she does. find myself
nssociating her work with Corots. for in both
there is that neutral tint Of truth-that general.
vague vcracity-thut fingers in your memory
lon. after bold and special mimicres have faded
out.
Remark. first. how she woos the eye-the very
consciousness OF her presence and motion docs
not assail you. At first you wonder n little
where the charm is Tor the American eye
loves magnitude. and takes to Pyramids rather
than Parthenons and Modjeska is not Gothic.
nor even Egyptian. but Grecian in the dellcacy.
the proportion. and the exquisite adjustment OF
her lines.
Presently you find yourself fascinated But
II is difficult to tell why. for the charm denes
analysis and battles EXPERIMENTATION like a
bright atmosphere. Your eye adjusts itself to
the new. sharp light You get over the desire
to be startled. and grow content with being fas-
cinated.
But il requires some taste TO appreciate
Modleska. The eye that is accustomed 10 meas
uring Niagara misses the noise in the perfect
jet deau. The ear that is attuned to the :hun-
dcrous simplicity OF drum and nie ut first de-
clares the faint breathings and complex rhythm
OF tho violin to los weak aud unsatisfactory.
But 1t is noticeable that. after we have learned
to understand the finer melody of delicate
strings. we never 70 back to the rude. pulsatile
noise OF our first condition with any delight.
ModJeska's appearance In Camille" regarded
without reference to tho duties OF the role. H. In
| itself. remarkable evidence Of her womanly art
| Her person fascinates with all the sensuous-
ness thut art can get out OF motion and height
| oning costume.
In the modste's sense she is the best dressed
woman Of our day. Her own sex stare at her
with envy and admiration. The other sex con-
template her with wonder.
For once we are unable to tell exactly where
the idealism Of clothes ends and the realism OF
woman begins.
She has fused the two so absolutely that cos
tumery has become form and color and motion.
and some OF the personal aura OF the creature
is enmeshed In the web that surrounds her.
IL has always been mystery To- man how a
woman does this. In his reflective moments he
scouts the idea that there il anything more In
thesweep of n skirt or the swell OF IA bodice
than his own imagination puts into IL. In his
natural aud sane intervals he accepts the mean
inc without reasoning.
IL hardly ever occurs to him that the artistic
woman's armory extends 10 the hem OF her
garment. and that she knows every thread OF
her battery well as Del Sarte knew the
wrinkles OF his gamut.
Mary Anderson is "a girl whose body triumphs
in spite Of dress. here and there gloriiying
tapestry with an accidental and imperial swing
Modleska IL woman whose dress lie the
grace OF ornament added 10 the glory OF con-
struction. and. SO far from interfering with It,
heigntens 1t.
II is true enough that the modste's view Of
stage art is not OF much account: but II is also
true that the actress who thus makes the mar
ticulate fabric Of her decoration contribute to
the beauty OF her action must be an artist in the
better sense OF the word-that is. she makes oil
the adjuEcts OF II complex art converge to her
own purpose Of expression.
Camille ," is a play which affords every
license to dress. Ii deals with an artificial and
sensuous condition OF life. Dress is an integral
part OF the story. The fascination o; dress be-
longs TO the moral.
And there is an analogue here that no one
has used. The manner in which the physical
woman asserts itself through oil the folds Of
Candles decoration Is illustrative mot nten-
tionally perhaps Of the way in which the
human nature OF the story comes 10 the surface
continually. in spite OF the wrappages'of arti-
fetal life and the prcIudices OF society. keeping
it upon our stage in the face Of all opposition
Modleska's grace Of action is peculiar. 1t is
not the mere animal rhythm of physical periec-
ton. 1t is human. with pantomimic meaning
unknown TO English actresses.
She is n mistress Of the gesture language
and no actress can be who believes that 1t is a
language spoken only by the arms. She under.
stands the whole syntax OF posture aud motion
which. together. make gesture. / never saw bu
ono other actress III was Piumonti. and she was
an ltalianl who so equally distributed thu
meanings OF her soul through all the circumfer
/, ence Of her body. and who made the crook o.
her little finger so declaratory. SO significant
, and so eloquent.
Such women do, indeed. carry the symbols o
passion in their finger tips. They need no
touch US to close the magnetic circle: 1t 10 sum
cient to telegraph to us.
The exact difference observable In such an ar
fist as Modjeska. and such phenomenon as
, Clara Morris. has never been clearly set forth
} but we approach the essential truth when W,
say that one acts sentiently. the other rehec
lively.
And here let me say that'art discussion dea
altogether with intelligent human eHdearor. no
} with automatic genius.
= There is II kind OF visceral art recognized II
: the world with halloo. 1t comes where
lsteih. Its performances are like those Of tn
vital organs. beyond the reach Of our volitioI
. and our comprehension. They are cardiac
l assimilatiye. and peristaltic. but in no sens
cerebral
, We may fall down and worship the awful
a mystery OF our Involuntary nature. but We can
not bring to it any OF the terms Of art.
As actors do not cease 10 be men and womel
physiologically. though they sometimes ceas
to be responsible. | suppose the philosopher VIII
. makes clear line between the natures and IN
work of our best players will have TO lay dow
I q fundamental law.
e. Fancy the astonishmcnt of our aesthetic rhap
s sodists. who are content to huddie all actin
5 into a well OF English. at statement Ike this
. aActors. being in their best estate still human
I have the nature OF their wor, determined b.
. their organization or their attainments.
@ Organizations consist OF vscera. affections
n and brains-in other words. vitality. emotions
3 and thought.
a Well. when you have got that fairly digested
g see what comes of il.
n An idea2 Yes. Something worse. An er
! PLANTATION. For some actors have their dctio
8 determined By their vltality-by which do no
" mean the sum Of organic powers but the prin
, | oinia 81 animal lffa