New-York tribune., 1885-03-31
THE ADDRESS.

am deeply sensible OF the compliment that has been
paid not much to me personally as u the profession
represent by the invitation TO deliver address to the
students OF this university. As an actor and especially
as an English actor II is great pleasure to speak for
my calling in OF the chief centres OF American
culture; for In inviting me here to-day you intended.
believe to recognize the drama educational inu-
enee 10 show genuine interest In the stage as factor
IN life which must BE- accepted and not Ignored by incl-
gent people. have thought that the best use can make
OF the privilege you have conferred uIon me Ia 10 offer
you IA we'll as / able something like practical
exposition Of my ar; for IL chance-who knowsi-
that some you may be disposed TO adopt II Gs yoca
ton Not that wish to be regarded rs temptor who
has come anorg you 10 seduce from your present
studies by artfu pictures OF tue fascinaons OF the foot
lights But naturally supposed that you would Ike me
10 choose as tho theme Of my address. the subject In
which am most interested and to which my lie has
been devoted aud that auy students mere should ever
determine Ia enter tho dramatic profession they could
be much the for the Information and counsel
could gather for them from toleraDy extensive
perienco This subject WILL trust. be welcome TO all of
which appeals 10 the sober-minded and Intelligent. fOr
take 1t that you have lingering prejudice against the
POSED like certain good people, TO object 10 the theatre
simply a name These stickicrs for principle would
that In famous city of Massachusetts, not hundred
miles from here there persons TO whom the theatre Is
building which Is called museum especially II tue
yestbue leading TO the theatre should be decorated with
and stuffed objects IN gas, cases.
Wen began to think about my subject for the pur-
pose OF this address, was rather staggered by Its vast
ness IL Is really matter for course Of lectures; hut
az President Eliot has not proposed that should occupy
chair OF dramatic literature in this university and
time and opportunity are limited. can only undertake
70 put leiore yon IN ~, the simplest @ way lew leading
ton. And In doing this have the great satisfaction
OF appearing 10 model theatre before model audience
and OF being the only actor In my own play Moreover.
am stimulated by the atmosphere OF the Greek DRAMA
FOR know that on tins stage you have Greek
play with remarkable success. 30 AIler u
body OF mere ros that am addressing but actors who
have worn the sock ana buskn, and declamed the
speeches which delighted audiences two thousand years
Now, this address, Ike discourses IN more solemn
place. falls naturally into divisions propose 10 speak
hrs OF the Art OF Acting; secondly OF It's Requirements
outset, Let say that want you to judge stage
its best do not intend TO suggest that only the plays
taste and intelligence. The drama has many forms
tragedy. comedy history-pastora, pastoral cemical
and all are good when their aim Is honestly artistic
TIE ART OF ACTING.
Now what Is tho art Of actngi 1 speak of It In Its
highest sense the art tOwhich Roscu. Beteron and
Garrck owed their fame II ia tho embodying tho
poets creations OF giving them flesh and blood OF max
ing the figures which appeal to your minds eye In the
printed drama i've before you the stage. To fathom
the depths OF character 70 trace its latent motives
feel its finest quiyerngs OF emotion, to comprehend the
thoughts that hidden under Words and thus possess
ones self OF the actual mind OF the individual man -
this may add the testimony OF Talma lie describes
tragic acting the union OF grandeur without ponp
and nature without tryiaty." IL demands the edow-
Inent OF high sensbility and intelligence.
The actor who possesses this double gift (says Talma
adopts course OF study peculiar TO himself. In the
frat place, ty repeated exercises he enters deeply
the eoons and his speech acquires the accent proper
70 the situation OF tho parsonage he has represent
This DONE he TO tho theatre not only give thear
cal elect TO his studies but also to yield himself 10 the
spontaneous flashes OF his sensibliry and ai the
tions which II inyoluDary produces IN him. What
he then dot In order that his inspirations may be
lost his memory In tho silence of repose recalis the
accent OF his voice. the expression OF his features his
action-in q word, the spontaneous workings OF his
mind, which be had suffered have free course and In
effect. everything which In the Of his exalta-
ti0n contributed o. tho effect ho had produced His
teligence then passes all these In reyiew CON
meeting them and liking them In his memory TO re-
employ them at pleasure In succeeing representations
These Impressions are often eyanescent that
trng behind the scenes he must repeat to himself what
he had been playing rather than what he had TO play.
by this kind OF labor the intelligence accumulates aud
all the creations OF sensibty. rs by this
that at tho end OF twenty years t requires
least this length Of ne person destined to display
fne talent may mt length present 10 tho public serios OF
characters acted almost TO perfection"
You will readily understand from this that TO thu actor
tho well-worn maxim Is long and life IL short
has O constant Significance. tho older wo grow tho
more scutey alive We are toths difficulties OF cur craft