Evening star. [volume] (Washington, D.C.) 1854-1972, 1889-02-13
THE DRAwING-ROOM REClTER.
The Terrors Of This Imitator Of the Act
ors-Wisdom from Scott.

From the 81. James Gazette
The drawing-room reciter increases and null
tipliss in spite Of Mr.. Anstey. Win he suffer
from % the word Of exhortation-a word - to
his choice OF matter and word as to his use Of
gesture? We would exhort him to forego the
delights Of spouting Mr.. Sims. Literature Of
fers wealth OF passages, gracious with music
or powerful with passion, where the magic Of
voice might work wonders Of revelation.
Let him choose such, and having chosen, let
him sink himself in his author. That, no
doubt, is hard saying, which will send many
young man away sorrowful who has great
possessions in the way Of recitation. Charles
Lamb complained that actors sought in s.Mac-
beth" just what they sought in 1.-THE Came
ster'-mereiy occasions to rant ana Resticulate,
that even Garrick was as anxious TO shine in
every drawing tragedy his day produced as in
shakespeare: Well, our reciter is like that.
he roams literature only in search of scenes
OF horror or obvious pathos. as like as he can
md them to those pet narratives of his of the
pauper's deathbed and the TRANSPORTATION of
the street waif, with which we are all so IA
miliar. Not that we would have the reciter
avoid scenes OF strong feeling; but it should be
genuine feeling. not sentimental claptrap. And
after hearing and watching many reciters from
MIR. Brandram and Mr.. Clifford Harrison down.
ward, it has been borne in upon us that in the
expression of even strong feeling the reciter
should trust to tone and infection of voice and
should refrain from over-much gesticulation
and from nearly all initiative action.
ms brings to us our second point. In his
stock in trade of Intellectual and distracting ges-
ture lies the browning absurdity of the draw
ing-room reciter. He strives under fatal disad-
vantages to rival the actor, whereas he should
carefully eschew rivalry and be jealousy on
his guard against any confusion of quite differ
emit arts. The actor presents himself-as Mac
beth; say-to the eve and ear. The reciter
should present his Macbeth only to the imagi-
nation. To trench upon the realm of the actor
IN action and gesture is to destroy the true
imaginative effect The reason is this: So
long as no imitation is attempted, the imagina-
uon creates world of its own at will;
Its inexhaustable resources body forth actors,
action, everything. But the moment appeal
is made to the senses with the least piece
OF realistic imitation, the senses demand de-
tails throughout on like scale Of imitation
And II such be not forthcoming, the imagi-
nation is confused and its creative activity is
paralyzed.
Consider for a moment the history of the
stage scenery and accessories. Once the imag-
nation would clothe bare boards with attri-
butes indifferently of forest, plain or town,
and conjure up, now Venice now Bosworth
Field, now Prospero's Island. But, once started,
and stage carpenter. We haveseen more than
mr.. Crummels ever dared to hope for in the
Drury Lane trlumphs OF real properties. sat
the Odeon," Flaubert once wrote to George
sand, "a live bear is going to appear on the
boards. This Is the only literary news have
for you" Now, if sometimes even the resources
OF the modern theater are strained in vain
II with all advantages of spectacular illu-
sion Charles Lamb found the elemental Lear
OF Shakespeare shrink on the stage to des-
plcable old man in a mimic storm-what hope
can there be for the reciter on this path2 Let
him, on the other hand, leave everything to
the imagination, and the imagination will be
equal to all demands. The reeiter's business
Is, so to speak, with the soul of the piece. His
legitimate means lie in tone and infection of
voice, with only so much of facial expression
and easy bodily movement as will naturally
accompany expression of voice. Initiative ges-
ture is difficult and dangerous where the reciter
mas the advantage Of stage; it is fatal in the
drawing-room. 1t is lamentable to see him
take out his silk handkerchief with the fancy
border as he
Wipes his bloody broadsword
And returns to count the dead;
or stares stonily at the carpet in search Of Dun
dee NA
Dashed and CORY,
Stretch'd upon the cumber'd plain
The realism of the action is faint. but Il suf
noes to make the amiable face and faultless
shlrt-front homogeneous, and to paralyze the
ACTIVITY OF our imagination. Col Mannering
only read, he did not recite; but allowances be-
ing made for this distinction, the reciter could
not have had better model Listen to Julia's
description, and remember Julia could be. il
occasion called for it, very caustic critic of
her papa. I'm the evening papa often reads.
and aslurn Won ba 10 tho ba,t Il. :