Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1891-07-26

learned by hard study both on ana on
the stage. 1t requires much ana VaIieo
preparation. OF course natural giits
are a power in themselves, but II re-
ouires experience to ripen them, ana !.
is only by study that even the slmples'
effects can be properly reached.
To be natural on the stage Is not a
matter of casual mood, but OF trained
habit. -,
A Young woman may be exceptionally
we'll gifted. She may be pretty, have
good facial expression, a fine speaking
voice, commanding statue and nave
the necessary physical conditions, ana
vet be unable to portray the emotions OF
the human mind in such manner as 10
be entertaining and ineligible to others.
Let any one go upon the stage before
an audience and say the same things
and act the same deeds which ordinar-
ily occur in everyday life, and he will
appear wholly stupid and embarrassing.
II will be no more entertaining TO an
onlooker than is any commonplace visit
to an ordinary family, such as occurs
every day. No one is particularly In
terested or entertained.
People must be taught how they
should act, move, walk, speak and sing
il they are to do these things as perfect
" as to please others.
Long ago nature might have been so
lavish with her children that each man
and woman said and did exactly the
right thing at the right time-and with
exactly the right expression. But
ALL rHArHAs PASSED AWAY.
We are taught in etiquette books and
in society TO conceal our emotions. A
ladylike monotone, with smooth and
even accent, and a voice that never
rises or falls beyond certain pitch,
are things ordinarily TO be cultivated.
Never, in ordinary parlor conversation,
must the face express extreme emotion.
Passion, rage, anger, disgust, contempt,
pleasure and surprise, must all be yelled
beneath an outward mask of serenity.
The woman OF breeding will never show
by the lifting OF an eyelid that she
thinks person is bad tempered, I'M
kind, or even cruel. At all times O
beautiful calm overspreadS her fea-
lures; she walks slow, speaks deliber-
ately, and whatever effect she may
wish to produce, she does entirely by
means of little ways and actions that
are pretty, rather than effective. In
parlor this may be quite agreeable, but
upon the stage the effect is lost, and
the woman would appear inane and
lifeless.
1t is because of this that theatrical
managers dread the society woman who
goes upon the stage. She may, in the
first place, have prestige and name as a
social leader, and, If she is connected
with fine family and has gone upon
the stage because of domestic or other
this fact goes far to
arouse curiosity in advance from an In
dulgent public, who having heard of
her previously, are willing to go once
to see her behind the footlights.
WI :S'd and ffssIRegs &6u hJWltYlashe
but there comes a time when the society
woman, having been once seen by all
the world must sink into oblivion In the
minds of the fair-mnded public. They
see that, acivated by motives other than
those which should impel any one choos-
ing n vocation, the actress is either friy-
olous, vain, indolent, or incompetent.
They notice that she does not improve
and that having seen her once, and
gratified their curiosity, they have seen
all that there is to be seen. The pretty
little annerisr2s, sweet voice, style and
figure, which in the first place made my
lady attractive upon the stage, are not
sufficient TO keep them interested be-
yond the first nights performance. And
THAT IS THE REASON
that high standard schools of acting
and theatrical managers hesitate to take
society woman and bring her before
the public. Occasionally there will be
one that will find that she has chosen
the proper vocation, and will, after a
time, devote herself to study so earnest
Iy that good results are achieved: but
more often there is no Improvement
after the first week, and the manager
finds that he has q star who is a white
elephant upon his hands, and who can
not keep her place before the public.
In examining candidates for our
school of acting, frequently have
young women come to me and mention
the fact, as point In their favor, that
they are never nervous when appearing
before the public. They say that they
are always calm, cool, collected and I'M
impressionable. When I satisfy myself
that this is really the case, and that a
young woman cannot be aroused so as
exhibit, or at least to feel, nervousness,
1 at once make up my mind that she is
wholly unsuitable for the stage. A
successful actress must be highly ner-
vous, she must be scared when she
goes behind the footlights, her heart
must beat faster as she sees the audi
ence. There must be state of nervous
tremor, and she must feel In sympathy
with the audience, or she will be wholly
unsuccessful In catching their attention
and holding their interest throughout
the part.
One of our first tests in examining
candidates Is to put them upon the
stage, and after picturing a dramatic
scene and locating the characters, ask
them to say certain lines. say to a
young woman; Suppose that opposite
you stands your lover; between you and
him is your father, who objects to your
attachment for your lover and seeks To
estrange you. A woman, who is the
heavy villain of the play, stands in the
background, scowling and lowering upon
you. Your lover says: Il was wrong,
Forgive-forgive. Show this woman
that you can forgive
HOW WOULD YOU REPLY,
and where would you locate these char
acters."
Now, young woman with the true
dramatic instinct will locate all these
characters, put them in their right DO.
sition upon the stage, and, keeping each
one in her own mind. will saw her line,