The daily gazette., 1880-11-04
SARAH BERNHARDT's ART.

NAIOhALNhbS hbh bOLh bhChhI
SHE GIVES HER VIEWS OF ACTING
AND ACTORS.
Professor Baralt representing the
World, had an interview with Mile.
Bernhardt yesterday at the Albemarle
Hotel, between and 2 o'clock on her
arrival fro n Mr.. Sarony's photograph
ic gallery, where she had just had her
picture taken. Mile. Bernhardt was
very much pleased with the way in
which this work had been done, and
was in the best health and spirits, al
though she said she had not yet en-
tirely recovered from her trouble with
her throat. Her voice was, neverthe-
less, strong, clear and musical. Mile.
Bernhardt is charming talker, radi-
ant with genius and originality. Af-
ter her late and hasty breakfast she
expected to go to Booths Theatre to
attend the first of her two daily re-
hearsals. Professor Baralt asked Mile.
Bernhardt to give the World through
him some preliminary notion OF her
views on the principles and methods
Of the great French stage which she
represents here, and on the dramatic
art in general.
"Indeed," she replied, smilingly, "I
do not think have much to say about
these things. l consider the Theatre
Francois the greatest school of dra-
matte art IN the world. Its ensemble
is certainly most admirable. Its
method think the best simply because
| know it is the most natural.
"What is your opinion of the Italian
school of acting as illustrated by Ris-
tori and SalviniS"
81 do not like it. 1 think it is false
and exaggerated. / like much better
the English and American style of act
ing. In London l admired Irving very
much; Miss Terry 1 also liked exceed
ingly. You know l saw Miss CT ara
Morris here the other night. Well, 1
was delighted with her. She has rare
talents and style of her own. con-
slider her most admirable actress. "
tori ?'
"Neither; / am too young to have
seen Rachel, and Ristori curiously
enough l have never happened to have
tuo plcuSuT6 VI botluR.
"But you have seen Salvini and
Rossi, have you not?"
have seen Rossi, but not Salvi-
nj"
.."What do you think of Rossi?"
"Well, he has undoubted talent, but
honestly do not admire him. l have
already told you that do not like the
Italian dramatic school. 1t is not ma
tural and that is the last word with
me-"
"Well, how far do you think an ac-
tor should be what you call natural ?''
"Oh, entirely, absolutely so. 1 as
sure you that my whole tn cory of art
is comprised in the word "a Iture.'
"But you do not think it impossible
for an artist to be entirely natural
Do you not admit the requirements OF
what the French critics call Theatrical
optics' ?"
"Well, Of course an actor has to raise
his voice above the ordinary key, es-
pecially in certain passionate plays,
but that is about all, is it not ?"
"And what about his gestures f'
"Oh, do not think the actor should
otuNJ kOobulO utl 1IO De
naturally graceful ard accustomed to
refined gestures, and then allow his
actual feelings to suggest the proper
gesticulation. l think it is time vast
ed and very foolish to prepare and
study ones gesture beforehand. The
real feeling of the moment and the
situation as it rises must give the ac-
tor all the movements and play of ges-
lures he needs.
"What Do you think that the ac-
tor must really and entirely feel the
passion which he is called to express?"
"That is my opinion unquestiona-
bly, / believe that he must feel every
emotion just as fully and strongly as
if it was real emotion arising out of
his own experience. He should iden-
tify himself completely with the char
acter that he personates he should
be for the time that character. He
must let himself be carried away, and
that by real feeling. He must give
himself up entirely to his role and to
his audience. Acting is great and
constant battle. The actor has to con-
troll and fascinate his audience by his
passion, and he cannot do it if he is
not himself carried away by it. How
can he? Sometimes we overstep our
mark, but it is no matter we cannot
help it we can correct that and make
the next night. That is what
l do. If should play the role of an
insane woman l should become really
insane, certainly during all the repre-
sentation. l think that it is for this
reason they have never given me such
roles ! And l am afraid of them. l
really am.5 The actors work must be
IN exact imitation of nature, and his
ceiling must be real feeling or 1t can
lot affect others. That is my belief.
When you have seen me act, you can
ell me what you think of it as a dra-
natic principle p