The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-03-31


cal'y to his first performance of the part.
Certain manifestations OF character were
habitual to him but they were not called out in
" A Celebrated Case"
If the supposittious pianist that have used
ms an example were an actor, he would immc-
dately insist that the routine and drill Of dis
ciplinc necessary to master his instrument
were destructive OF his natural abilities and
genius, and like all natural gcniuscs would in
sist upon playing his instrument in his own I'M
guided way.
II the piano teacher were an elocutionist or
dramatic coach. he would load the pupil with
so many arbitrary unnatural. and irksome
rules, put such curb upon muscles, mind, and
natural method MAT the born actor must come
out pedantic dcclaimer. with 40 much Of his
consciousness sticking out of his words and
hampcrIng hs actions that you will wish for his
own sake that he were discmhodied.
More than once have seen ambitious young
women. with fair talents for the stage smother
ed by these Othellos who profess to toach the
art of acting. and all because. instead Of teach
ing the noviccs that nature had supplied them
with prope. gamut Of expression and 1t Ia
only necessary to use II naturally and appro-
priately. they have substituted tyrannical sys-
tenn of their own. which destroys anything like
involuntary action and converts the victim into
| q puppet OF tradition.
The merit that saved Mary Anderson, and
keeps her fresh in our memories. was tho I'M
tutorcd merit of individuality. She may not
have done everything appropriately-but she ut
least did everything with n pristine charm that
carried II straight to our hearts. There was no
mark Of the elocutionsts hammer upon her
II Mr.. Nandenhofl had tnkered her girish
style, her plastic manner did not show dent
| have in my mind now gifted young woman
who year or two ago put herself under the
harrow OF the teachers. She was largely on
dowed with feelings. and plcn,iiuy blessed
with the power of manufacturing them. She
could take the part Of Pauline or Juiiei. and so
manifest 1t out of the richness and ardor of
| her own soul that the listener and spectator
passed instantly under the spell. She had the
rare creative gift Of imagination. What she
needed was the breath Of culture. the develop
mcnt Of mind. and the puissancc Of experience
to make her great actress.
Her friends thought she ought to spend n
| few months in purgntory to chasten her natural
eSubcrance and give her practical knowledge
| OF the exits and entrances and the falling nfcc-
| tions.
raw her try to do J,l,ei after six months Of
sackcloth and ashes. She had been triumph
antly reduced from natural actress to nm un-
natural player. Her feelings no longer IN
PEELED her. Her soul trcmbed at it, infections
At every breath she seemed to ask herself with
| trepidation-"Ah. me- was that the right sus-
piration or the wrong tone Heaven forgive me
but have taken four steps instead Of three and
| committed the objectionable sin Of folding my
arms too highw
asked her why she no longer simulated Intact
in her own way. which was at least original.
Because. shc replied. " have been taught
that that was not the way Fanny kemble AMI
Mrs. Mowatt did it,"
1t appears TO be the rule Of these shops TO strip
OF every shred Of the flesh Of originality and
hang their traditional harness instead upon the
animated skeletons they trot cut ior us.
| Actors for some reason nre specially offended
/ 10y any reference to law. They who hug nature
| in her alterations viii not countonancc her in
| her majestic professions. They talk smariy of
the eddies and whirlpools Of passion but they
! know nothing 90 the great and steady tide Of
human nature.
They Gre continually reasoning of the drama
az a vehicle Of thought. whereas it is properly
! vchiri" of feeling. and the two things are en-
TREY distinct.
II YOU once get this fundamental III n firmly
fixed in your mind you will have less trouble in
unders standing that while man makc- the yo-
cabularS for the cNuro ssion II Thoughts Nature
! las rroyi ,ct the stn.ut Of cNIr, -,iou for the
| feelings.
What thou why y 's that orthe proper cx-
precision of your feelings you shall NOT go to tho
word--oundor- and facc-ulk,rs. but TO nature.
! for the study of your art
Hero lies the distinction thar f. apparent in
/ the sentimental ana thc scientific method #
treating dramatic cnioayor.
That wh ii hy hioioSir law * part ~ our
! annual econ '1y. and Is ind,-~o'uha cuuu.. ted
with the hcaltiui pay Of oar tipir natures. /
} choose fI.UIIi 4 fNirr..rf mat ...frfft-