Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1879-04-04
THE THEATRICAL GAG.
Something About It..-Amusing Incidents
Of the Staue---The Ready Wit Of
Actors, etc.

y writer IN an article upon the stage
says:
Among the diverse meanings given
to the word gag, its origin and le-
climate application are lost. 1t is
v%ariously used to express interpOla-
tons in the text Of a play not sane
toned by the author; personal and
inappropriate illusions introduced by
the actors needless and tedious repe-
titions of some popular phrase, and
even business introduced inappo-
sitely. The general opinion Of play
goers probably is that a gag is inartis-
tic aud destructive of symmetry; that
it is usually an unworthy means of
exciting a vulgar litter. But, as a
matter Of fact, without the gags hand
cd down by tradition or invented by
the actors currently identified with
the leading parts, several of the most
popular plays in the repertoire of mod-
ern theaters would be less %presentable
than they arc.
The late Charles Mathews wrote an
article in one of the English publica-
tons some years ago, in which, among
other things, he says: 1T has often
been made a subject Of rcproach that
unworthy gags have been introduced
into Sheridan's play, Now it il Ger.
tain that Sheridan not only sanctioned
but also contributed to the fun intro
duced BY Bannister, King and Miss
Pope, and the absurd mistakes which
have gathered volume as the years
have rolled on, were commenced uu-
der the eye of the author. and have
been handed down to us as a portion
of his work, the jokes having accu-
mulatod until, perhaps, the additions
have outnumbercd the original abb
surdities. The skillful introduction OF
either jokes, or what is technically
called business, strictly in accord
ance with the character and the au-
thor's idea, has been a recognized
privilege Of celebrated actors from
time immemOrial, and it is only when
jokes, however good, are clunsily in.
troduced, without reference to pro-
priety, and merely for the purpose of
extorting a horse laugh by Legitimate
means, that they ought to be desig-
mated as gags-literally, unjustifable
liberties taken with the author and
detrimental to the interest of his work.
Nine ont Of ten Of the best pOints
in the acting copies Of old comedies
are commonly called gags, but are, in
fact, traditions handed down from the
original actors, and so skillfully inter
pOlated that the comedies would lose
By their omission. These are not
gags, but Legitimate additions en-
HANGING the value of the subject and
artistieally Tightening its effect. 1t is
the province Of the actor TO embOdy,
to illustrate, and complete the mean
ing of the dramatist by judiciOus
additions and appropriate by-play ;
and the comedy-writer is woefully
disappointed if the principal actor in
the course of FIVE acts does not con-
tribute something of his own. When
" Sir Peter Teazle," in the last scene
of the School for Scandal, bids Marin
speak her sentiments, he suddenly
checks himself, and leaves the phrase
unfinished, thus Come, child, speak
your senti-. He remembers how the
odious work has been hackneycd BY
Joseph, and refuses to adopt it. This
is a legitimate point, and not a gag,
and is so thoroughly in character
that, though it Is not in the original
manuscript, but has been handed
down as a tradition, it would have
undoubtedly met with approval from
the author himself, as a manifest i'm
provement and artistic carrying out Of
his own idea"
The distinction between a well.
made point and an unnecessary inter.
polation, neither charging an existing
idea nor embOdying a new one, is Sc
broad that it should be easily cOmpre.
hendcd, and most readers probably
understand the word properly as
meaning the latter. In times past
there was an easy familiarity between
a popular actor and his audience.
which encouraged him 10 take all
sorts Of colloquial liberties with them.
as for instance, when Burton, acting
with Brougham, says to him indie.
pcndently Of the text, "Your Nance
Murphy, isn't it," and receiving O
negative answer, continues, well, it'S
some other potato name" Mr..
Brougham himself was, if he is no,
still a gagger. Mr.. Toolc, the
English comedian, is an insatiatt
gagger, and Mr.. Buckstone's familiar
titles with his authors and audience,
have sustained a part Of his reputa.
ton for many years.
An INSTRUCTIVE AND LAUGHABLI
CHAPTER
OF any stage history could be file,
; with instances Of gagging which shoy
: the various applications Of the worlt
and the by-goue cordiality that Pre-
} vailed between the player and tn.
spectators. One Of the best relate
TO the production OF the Heart a
Midlothian at Lanark, Scotland
I There were only two Scotchmen i
e the company, and to these the parts Q
4 SaddletreO and " Dumbiedykes
q were given, while the part Of Dayi
@ Deans was allotted to o pronounce
@ cockney. No sooner bad Davie
. begun TO scold his daughters for talk
ing Of dances than there was a mui
mur Of disapprobation from the ga.
J, lery, and a native called out Heel
Z mon, yer no a wee bit like Dawi
Deans where's yer awkcent, mon
70 which David testify reptile,
Why, you'y We got it, a rcpartee til;
j. was appreciated by the audience an
j. accepted as a satisfactory explanation
This kind Of communication betwee
the actor and one Of the audepe,
n more or less witty, is generally d,
g seribcd as a gag stephen Kemb.