Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1891-07-26
particular. thus robbIng them of all +

Wnat KIM OF girl 10 we ike beo
train for actresses?
Well! 1t is hard to tell exactly !.
cause the subtle element enters inio n
composition so largely, that given all y (
qualities which am about to enumer,,.I
a young woman might yet come 10
and be refused mission. We first ca
slider her nationality. The FreNs
| and Irish are the best, as The,
are the most adaptable, and en-
ceptible. The Germans are next, n ;
except Americans, who, being mi1to.
of all nationalities, are brightest OF u
There are roles upon the variety sta,,
which make Americans invaluable. AL
their ready wit makes them quick N
learn q part and notice those poIr,
which, upon first night, take best viii,
an audience. The English, especial,
English men, are good in society plA,.
Among the Americans the dow,
casters are the hardest to train. The,
are brainy and smart, and have a ma,
ural business faculty, but they do pr
do well In
HOLEc OE Sen lAAENl.
II Is the Southern girl, with her se,
sitiye temperament, emotional natp,.
and dreamy eyes who can move bs,
audience and hearers with her thropsI
the varying lights and shades Of domes
tic life inwrought with unhappiness ana
tragedy.
AS to height, Il is a great disadya,.
tage to be short, because howeys,
artistic one may become in adding a,
assumed height to ones own stature
the actor can never quite overcome h.
defect with which nature has hand,
capped him. II an actress she will a.
WAYS find that 1t Is difficult for her =
play stately or commanding parts. n
she is slight she can add TO her heigb
by making conspicuous her lithenes
and slenderness.
Vocal quality, vocal expression al
pantomimic action must all be takenh
account In examining the quslifcato,,
of aspirants. Some people have natr
rally good voice, good walk and &,
expressive face. Others have TO acQui,
these. The former are fortunate, Will,
the latter are not, but these things an
wholly aside from the dramatic instinct
Without this last an actress is never a
success, beautifully gifted though sh.
may be. But give her this instinct sal
she IS a success from the beginning, BE-
cause she has that which cannot be &C.
quired and TO which all other things sr
subservient.
The brightest girls who ever come %
US are those who have been on the VAR.
ETY. stage. They have been before tht
public for year or two, and have dec.
ded to learn those things which will en-.
able them to take part In the legu
mate drama. Nothing ever DISCOVERS
them; no audience can ever throE
them out Of countenance. They cons
to us to receive the finishing touches
We have only TO prune and TO refine
to teach them little elegances OF mac.
ner and speech which they have nc
learned. They are our best pupils.
Ordinarily, with people who lack
training or stage experience, expressiO,
is convey ed by the face. AT best u,
hands are brought into use, but rarel!
is the rest of the body called upon N
perform any Office other than that Of .
vehicle to hold the head and arms
Now this Is
ENTIRELY WRONG.
The body must talk, and one should b
able to show by the movements Of th
body whether one IS pleased or unhaT
py, and whether one is agreeing with
the speaker or disagreeing.
Take the simple sentence, at isnoi
So" Think of how many ways there
are OF saying that without uttering a
sound. Let us leave out all except he
one sequence that comes with emphasis
simply and as quietly asNpossble, "lth
not So" Without speaking word,
closing Of the eyelids and slight
dropping of the mouth expresses THIS
sentence. We repeat the thought more
emphatically. This time the eyes are
closed, the mouth droops, the nose con
tracts slightly, very slightly, and the
head is turned a little TO one SIDE
There is a slight closing OF the hand
Again, cit is not So" The righi
hand sweep across the body with
negative gesture toward the right the
back OF the hand is uppermost, ana 'ns
head moves toward the left WIN
negative turn that is almost a snake
Once more, at is not So" ana no"
the whole body moves. The nlp'
shoulders and head seem TO be turning
violently away as II in utter aohorrenos
of the idea, while the hand sweep.
away as II IL were brushing all tnousn'
of the object from the mind, IT,.
But one more way remains, El'nV.
actual speech, and that Is 10 rise WV
all these negative gestures, 70 iS..
from the room with the long str'oo NO
indicates grief, disgust, denial anu 10
spair. u,uA.
Lifting the shoulders and lliuns Ts ",
chin are both strong expressions, ~,
are rare, and should only be usea VIZ
abandonment and intense emotOn '''
indicated. t.s
A young woman or young man Wa
ing to judge of eligibility 10 scnOO'
acting.
CANNOT BE HIS OWN CRITIC
as to points Of expression. Inc GHi
thing that can be self-determineo 50
natural fondness for the WORK anu
knowledge that one has the oru'D ,aI,
requisites for the stage, TO wit: snd
education. sensitive Temperament, GO
no serious physical defect. As +" e. r.,
we prefer scholars from % 70 ~. s,e
special rolls character parts the'
eligible beyond those years. ,on.
An actor should possess many 49, ~,
plishments. He should be aoie " 10 sais,
dance and fence, have an eye iol fsr
and form. as In costuming, an esl ,,s..
every shade of dialect, much OS os-
faculty and mind well stored " The
| servations, study and experience. :. ~
larger the knowledge Of other arts ~
| hptter 49,.