Arizona weekly enterprise., 1888-09-22
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An Actress Tells How It Is Done-DanSer
 of Getting Hurt.

An Actress Tells How It Is Done-Danger
 of Getting Hurt
 ''Want to know how we fallf'' said the beautiful. graceful woman. ''Why, sec, this way First your knee. and then your hip, and then your shoulder, and you are down." and the graceful figure was prone on the carpet with outstretched arms Every fold of her lace drapery in the pret- tiest possible place, not an inch of her ankle or gleam of the snowy skirts was visible, and the falling has been as noise less and graceful as butterhy's dip and swoop down to the heart of a rose. Then, with a supple grace and quick, agile spring, she was on her feet in a second.
 ''In this way-sideways, you see, and with dip and curve and sweep of the lace draperies, down she floated as swift and noiseless as a swallows downward sweep, and she lay apparently lifeless, with her face hidden Another little spring and she foated backward into chair so limp and faint that even tho smile on her lips hardly treasured you that it wasn't an actual sudden faintness.
 We are taught in the schools, and practice on @ rug at home first, you know; and of course we get many bruises while learning We fall first to the knee and then to the hip, the shoulder, and down. Of course we do this very slowly at first and awkwardly, but we do it over and over again until one fail blends into the other so completely that you cannot dis tinglish it. Oh, yes, it is hard at first, but all there is to it is to take all the will out of your body and collapse. Mako your muscles involuntary and inspired with the part you are playing so that at the proper time you will fall almost un- consciously, and then you won't be hurt. Our prompter tainted the other night, and fell and hurt himself very badly. Now, 1 could fall in faint a hundred times and not be hurt-you see my fall is an unconsciously mechanical action. You go into a familiar room in the dark and your body will unconsciously take the right direction to avoid coming in con tact with the objects in the room, so my body takes the mechanical curve and l poise requisite to avoid hurt without my thinking anything about it if 1 make ] myself perfectly inert-give myself all up, you know.
 ''i have been hurt several times. Those old fashioned sloping stages were treach- erous affairs, and very often when play ing on an unfamiliar stage we were hurt remember going down bang on my nose once--almost broke it. Everything was dark for 0 minute, and then there flashed out all the constellations known to man and several more that haven't been dis covered, but I went on with my part an( no one knew. Then had another fal that made my hip black all over-though that would never get well, for had t. fall on it every night, no matter how i hurt.
 Are we afraid of being hurt? Oh, no We are constantly in danger. Great heav. things are hanging over our heads that if some stage carpenter shall blunder o some piece of machinery break, woul come down and make short work of us.
 had heavy iron bar fall not four inche from my face once, and 8 man cut Tn forehead with dagger, and other peopl have accidents, but we don't think any thing about them after it is over. Lik nervous people on shipboard fancy befor they sail that they are going to think C their danger all the time, but two day out they will forget all their fear and fet as safe as on land. So we throw oul selves down cn the boards and roll O sofas and down terraces and out Of chairs knowing we might break our bones, bU never thinking of it. No one ever di such fearfully dangerous thing as thG Miss Fetter, though. It seemed strang the papers didn't speak of it before, for just seemed cruel for her to endanger hl her health and even her life just to nak one more funny point in the play.
 ''Men say sometimes that women ia more easily and lightly than they thor selves This may be true. for women al supple. 1.-the and elastic and not so tai for the fall is just as mechanical. Peopl ) only watch the pretty curves and grace } ful sweep of Q woman's drapery, and q not see tho mechanical studied actio underneath. Wo float down very grac fully. but the floating is done as accl rately as problem in geometry. Ne i Fork S:.n.