New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-01-05
THE STAGE AND SOCIETY.
WHAT MARY ANDERSON THINKS ABOUT
THEM
From The North American Review.

From The North American Review.
think that any serious consideration of this adj
the conclusion that 1t las been oecasloncd purely
by the care and thought aud easing power OF tue
actors themselves. No barrier stand forever
lofOIc the progress of honest endeavoE 1t is only
that any OF the arts has gone forward, and this ap
plies with p&Tt.Cular force TO the dramatic arr,
which, being a combination OF all the others, Is the
difhcult and comprehensive
Ii would be destructive blow 10 the existence
equipped with pleasing personality. "a degree OF
drawing room grace and ten lessons In eiOcu.
ton, wcrc 10 gam, as an actress, the approval Oh
thoughtful Observers. do not say that society
leade. may not become dramatic artist. But her
progress must Be accomplished by the Same neihoas
and labOrs and experiences as those which marx Inc
advancement Of the humbcst beginner IN the ranks
10 most of those VINO move from the private mansion
10 the stage, acting seems an easy accomplishment,
and theatrical tuniphs appear the simple rewards o.
trivial labOls Thus, your society amateur win hcr
few lessons and her parior graeeeIWhlch are ny NJ
means stage arts screnely IN at he top eA-
90 Sse sssE % II nSocy Tor
She feels that the actors, the newspapers and the
general community have entered into dark conspiracy
is I.ost shining lights. There should be no room
tie stage FOR any man or woman VINO IS nor Milihg
triumph but also for the growth and honor OF the art
OF aching. Such persons do not ornament the stage
IT'S worth Far from elevatng the dramatic art, they
IctaId progress and bring upon 1t the reproach vi
fhe task of tho dramatic artist is not of trlhng
IL Is the purpose Of the player to not merely
impcisonae the creations Of poetic genius, but TO
Illuminate them-to make picture Of the diamatsts
fancy. Sculpture painting music ana poetry are
all requirements OF the dramatic artist who has
The highest aspirations The iemperament must be
more Or less charged win melody ana mere mus mus
sympathetic feeling for all Of them The true
dram attic artist must be upon mental and symp@.
thciic Level with the maker Of the character he
She is TO perform, or the CHARACTERIZATION ceases TO
diGiculty Of the players position is that when
We have once made our picture II remain IT is
a
upon examination, to have Deen badly choseh anu
T GSgS' Ife e o spo ' at our uP Iese When
our portIaiture once takes form, # IS instantly
i ns1 iyr ryisIon The dramstic artist is thus
placed at Dis advantage as compared with the workers
Ii Is a eiJat part OF our mission to seek out the
utmost dramatic possibilities OF COMPOSITIONS mar nave
been framed the stage and bring them 10 the light
We can hardly expect to accomplish this task until We
have. by long study and experience trained or natural
really are, and power To bring them out
Let me choose, Tor an example, the Winters Tale"
many close readers oi shakespea were considerably
os s3 aVID e one OF dav we do not ee What can
BE- made Of this work. Viewed from the dramatic
stan ONT regard IL not only the least valuable OF
shakespeare's plays but as being almost wholly worth
You must go and see it." replied
Il u do 30 he continued :" and If you can
convince me tina, the winters Tale is worth the
labor md cNT you are bestOwng upon u, shan
admit that " completely in error"
He I'D see lac production, and he very heartily ad.
Nsise Tor dda9auc bufpofSS v the sustained
great assistance TO the student, wh9 without
1novledgs of The stage. must frequently lose sight
The Winters Tale,' contrary to the expectations
Of all readers has proved 70 be nos ony interesting
and much more than usually rich IN episode. It
generally thought TO be utterly deficient and The
insight Of stage experience, training ana STUDY was
all tie purely dramatic effects in any given work
is not possible TO the student who Is not fanllIar
with he art OF acting in its best sense Indeed,
conn lete possibilities Of his pL u Is 3niy ths
sin greater effects.
An instance Illustrating the power Of the dramatic
artist to suggest and bring out the nleaihngs
o. the sq S ra Tne or student have e known
'he MouncisuDy production Of " lia :, at me The
se e was s most sEay prOddc s
standpoint Of splend0r and outlay. but as viewed
went 10 see Il, and great many people made the
Journey from London Tor the express purpose OF
Witnessing the revival confess to having fol
lowed il, with eager interest, DO less than eight
times. a.. .....-.-.,.-
vii confer an idea Of the remarkable skin shown in
conveying the illusion intended by mo author. In
which there was an atmosphere enSct SO sAliully
Sg n as g 70 IN enmarH For some moments there
was silence on the stage which was assIted Ihei
nan W" IN arnor " The sound approached and
sesrer and then a guard appeared upon the scene.
beating his hands and blowing bis warm breath a upon
circulation lie crossed the stage without word and
disappeared He could be heard Ieceding IN t1e
distance and finally came In sight again at the oscK
OF the stage. -
All this was done before word was spoken, ana
II was intended TO show Just what KIND OF plght ~
was. In This The action was extremely successful
brought out pctorially, the poets briefly described
Conditions surrounding the opening OF his play Ihsie
night be recalled number Of similar enecls "h ,t
wee brought out in this same representation put
q the dramatic artists insight as help 70 making
essr the authors design. no matter how lightly 10
ma have been touched by the writer .., |
. The knowledge that makes possible this detection |
~ meanings. sometimes written between the lines.
INES through the training Of the dramatic fnsuDct
va is the substructnre upon which the actor builds
hs Nk But in The hniding thera Is untold ondeaVOr