Morning journal and courier., 1889-07-23

with knowledge of the hard work before
her, would try and give her some hints, but
only after having endeavored to dissuade
her from her intention.
I am proud of my profession, bat do not
think it good life for good. do not for
one moment mean on moral grounds. A good
girl is good girl all over the world and
in all professions, and as for temptations, no
one should have the smallest apprehension
of them except those who distrust their own
disposition. But mean that 1t is too hard
a life physically and constitutionslly. Most
women are highly strung and nervous, and
know no one of my friends in the profession
whose tendencies in that direction has not
been intensified in the course of their career.
For myself, am in nervous tremor every
time 60 on the stage, even in the most
familiar pieces, and would at any time change
nerves gladly with the timidest of white
mice.
Again, the profession is so cumulative that
it cannot fail to engender little jealousies
and envies, which are blot on what would
otherwise be gentle and amiable nature.
Not that women are worse than men in this
respect-not bit of 1t. However, we will
assume theIyoung lady declines this profered
advice, which she has the most perfect right
to do. believe the best advice could give
her would be to take any sort of engage
ment, for any part or salary, with the idea OF
getting over her rough apprenticeship. Her
first experience would probably disappoint
her and dissuade her from further efforts ]
have, however, heard of instances where 1t
has not done SO, and have often been told
Of the discomforts and hardships suffered by
young and gently nurtured girls, and I have
marvelled at their courage and endurance.
I have found these the most willing and
promising Of all the young ladies have had.
II ,0& 1sr =
any other; 1t is too much like throwing q
child into the water so that it must swim for
its own protection or sink.
That some preparation is necessary is GER
tain; you must get used to walking the
stage" as natural as if 1t were your own
drawing room, get lid of all self-conscious-
ness and embarrassment, and above all, the
first phases of "stage fright" (you will never
get rid OF all of them). This can emily be
done by actually facing the fire and getting
some experience before the public. If you
don't like my first plan (and You can't like it
less than do) I recommend amateur per
formances. You at least have an audience,
and however friendly it may be, an audience
is an audience. You may not do very we'll,
but good-natured friend is sure to point
out your shortcomings, and it is better to
make obviously successful debut before
friends than before an inexorable public. In
fact, approve of playing in amateur per-
formances very much. know countless in
stances of successful commandments from
that source.
I do not believe in elocution lessons in the
least. What on earth is the good of young
lady reciting "the quality of mercy" who il
going to play ingenues and soubrettes for al
least few yearsi I do believe in seeing 6
good deal of good acting. If young lady
having made up her mind for what line Of
parts she Is most suited, would take any fav.
orite actress, ingenue, or soubrette, and
study her methods, and notice how she pro-
'duces her effects, Stimulates gayety, senti-
ment, coquetry, emotion, &C., she would dc
WELL 1 wish her, of course, to retain her
own individuality and only to initiate the
methods, not the personality Of her proto-
type.
1 believe immensely in practising your
part before looking glass. twill" tell you,
and tell you true" and you will observe by
degree that your gestures and poses will get
broader and more affective, and the intona.
ton of the voice will follow them. wish
pantomine were not an extinct art-I mean
of course, pantonine in its proper sense; the
Specification of your meaning by gestures an6
facial expression, and not words.
I have seen Mr.. Fox, the greatest of all
and Mr.. Martinette, in London, and theil
performances were art of the highest des
crlpt1on. l have heard that Salvtnl hrs'
acted the whole of "Othello" in pantomin,
before speaking the words of the part at all
l nope it is true. 1t is now, fear, los
art. I do not know anything about the Del
sarte system, but any system which teache
you to use gestures appropriate to the wore
(though I should have thought there nigh
be some danger of arti6ciality) would be
good one.
1 should like every one to learn to dance
and to learn every sort of dancing. Ever
l If it is not of use in the branch of the pro
fession you adopt, you will receive infinite
benefits from it every day of your life, in tn
freedom of your gestures and grace of you
movements. Do not neglect the arms-th
proper and graceful use of the arms is forty
per cent. of dancing. The foregoing is tn
advice think should give 10 young lad
(and have, indeed, often given) in the abseno
Of having any better to give. If We ha
/ schools OF dramatic art it might be different
We have tried them often in England; an
even under the most favorable auspices, an
with great deal of money subscribed, the
/ were never successful. The experience her
1 seems somewhat similsR. Another gran
| school of acting has disappeared here, and
| rapidly disappearing in England-the stoc
companies to whom a 'long run" was
thing unknown and who often played sewers
pieces week. 1t was terrible drudgery, ,bu
| 1t gave an experience and confidence not al
| tainable by any other means, and is respor
| sible for the success of many of our creates
actors