New-York tribune., 1885-03-31

and il would have added greatly realism OF the
scene have never forgotten that lesson Tor simple as
IL was it contained many elements Of dramatic truth.
You will that the limits OF an actors
wide To master the techncates OF his craft 10 Iai-
iarize his mind with the structure the rhythm ana tne
soul OF poetry be constantly cuuvatns Ills pelcep'
tons OF life around him and OF all the painting
music the actor who is devoted TO his pro-
fesson susceptible every harmony OF color form aDd
soundto do all this is 10 labor In very large ed OF m
dustry all your training bodily and mental Is sub
sorvient to the two great principles In tragedy ana
comedy-passion and gemialty Genality IN comedy y
staff the mercurial fancy OF hercuo the witty vvacy
aud manly humor OF Benediek-thnk OF the qualities
natural aud acquired that needed for the portray
OF such characters and you will understand how dihcut
Il Is for comedian to rise to such sphere. IN
passion of pathos as wen as wrath or revenge
cannot be taught by any system however jast aud to
which all education Is but tributary
TRUTHFUL STAGE PICTURES.
Now all that bo said of the necessity OF close re-
gard for nature in acting applies with equal greater
force TO the OF plays You want above all
things to have truthful picture which shall appear 70
the eve without dlstractlng the Imagination Irom tno
purpose of the drama II mistake to suppose that
time there been steady progress In
thus direction Even In the poets day every
nropery was forced into requiston ani MS own sense
Of shortcomings In this respect Is shown In Henry W
when ho eaclaiins:
where-o for pity I'VE shall much disgrace
With four or five most vile aud ragged Tolls
The name of Aglncourt
There have always critics who regarded care and
elaboration In the mounting Of plays as destructive OF
the real spirit OF the actors art etterton haa 10 meet
this when he introduced scenery Ia lieu of n-
seyweolsey curtains; but he replied senslby enough
that his scenery better than the tapestry with hhe
ous figures worked upon IT, which has 50 long distracted
the senses OF play oer He might have asked his critics
whether they wished to 0pheta played by boy OF
sixteen as Ia the of Shakespeare instead OF abeau-
tiful and gifted woman Garrck dm MS UTMOST " ,' m
prove the mechanical arts OF the sage-so mnen So -
deed, that he paid his scene painter, LonthenDouFg,
S5O0 year. pretty considerable sum In those days
though IN Garricks time the Importance of Realism
In costumes was sufficiently appreciated TO prevent
him from playing Macbeth In bag-wig To-day we are
Employing ali our resources heghen the picturesque
effects OF the drama, and we s told that this u
ross error. II may he admitted that nothing is more
Objectionable than certain kines Of reals. which are
supply vulgar; but harmony or color anu grace
OF outline have legitimate sphere Ia the
theatre and the method which uses them as sWuncts
may claim 10 be as wholesome sweet, ana ny very
much more handsome than nne" For the abuse OF
scenic decoration the overlooking OF the stage with Or
nament the subcrdiDai alton OF the play to pageant
have nothing to say This all foreign 70 the artistic
purpose which should dominate dramatic work Nor do
thnk that ssrvilty to archaeology the stage Is an
unxed good Correctness OF costume Is admirable and
necessary up 10 certain point but when ceanes 20 Dc
You perceive that tho incest discretion u needed In hs