Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1891-11-09
1nr III IN ACHING.
-as Essential Poist In which the Acts
niners frcm The ntamaiist.


=as Essential Poist Ia which the Actor
niner' from tho Dtamatist
A great Francn critic said once, IN
concluding an essay, that actins was the
lowest Of the arts. lie admitted that It
was an art. but only by courtesy. |
agree with him, and / do not think II
requires much reasoning tonrriye ri that
conclusion. The mimotio art means
simply tho Interpretation Of the creative
art. DO you catch tho ideH A pupil In
the bcaux arts may sketch the Venus do
Milo on paper with such vigor that his
fellows are wonders,ruck. But tho Vi.
rilc reproduction on paper Of the tstue
does not place the artist ueXtthr statues
maker. nor does the approximation "
Phclre put the actor on the pedestal oil
| Racine.
The sculptor. the painter, the drama
list, tho musician they create. 4 thou.
| sand different peNons, athounnd diAer-
cut things rush to DO assimilatcd by their
genius. Tho effect Is m aggregate Of
/ beings taken from the whole N Va.
turc. The individuality Of the creative
genius IL dospened, but "a not annihi-
hici. His art il Of Tho highest, because
he h the embodiment. the representa-
tive Of nature. Bslzlc said that 90 do.
scribe landscape he turned himself for
tho moment into trees nnd grass, and
fountains and stars. and sunlight, aud
thus reached tho heart Of that which he
would reproduce. IN other words, he
created tho landscape just a. Rousseau
] ......fN ..a.s.. a.. r.fssa. f.Wf a.. tfF.st
elk inches Of canvas.
But for the actor-lct him storm Par
nassus as ho will; there arc few leaves IN
the Laurel crown. Il h his function 20
represent the creations Of gvuius-to Ia.
tcrprot them 10 the public. He has not
tho thousand inspirations - thc author;
he has only the ,ugycstiona Of tho glow
lug words. The actor Il suhsetyient Ia
tho author, Notwithstanding Doe may for.
g,t his bondage for brief 1--WE minus
and breathe the free air OF ggnius.
Thoro was NJ age Ia France, they say,
when actors were provided simply with
the framework Of The drama aud left ID
improyiso the rest. In fact, Goldoui. TIN
Italian drumatist. speaks Of supplying
plots 10 the French hinge players from
which they improyiso the ipooches. Bot
we have no evidence that the actors ro.,
above the level Of the Chinose stage oil
today. where similar practice prevails
Mind you, this opinion d not accepit
bio 10 tho public. know u must b.
unpopular OF necessity. Tho rublii
looks upon siddons, Mars or Rachel IN
terproting the grand creations Of gen
ius and regards tho actor as the rtn
boliment Of Shakespeare VI Racine %
Corneille. The public shouts with ap
plause when the actor trcmbles witt
foigncd passion. but this same publi
forgots that tho words, the action, th
expression are all simply echoes Of an
other geniua. Ia the clamor Of approya
the creative art 10 ioi gotten, although
that Is tho base of tho entire structure
No actor brings this genius nearer 4
/, the heart OF tho public, 10 be sure, bu
|. at the same time let him remember tina
Lo Is only the interpreter, after all, an
tho shouts arc really Tor Shakospear
. and Racine.
, And, 20 end with . suggestion. Is no
|, the actors art akin 10 the journalists
that IA, In the relation u tho latter I
literaturog IL seems TO mo that I'll
i playhouse aud tho newspaper go han
i In hand. They are popular vehicles q
: thought. and are within the scope ,
. the people. Perhaps this is not iiatiei
ing and perhsps II Is unjust--but thri
I, II Il only suggestion. Sarah Bernhard
| In San Francisco Examiner.