The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1891-07-19

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: i
am wrong. Forgiye-forgive. Show this
woman that you can forgive How would
you reply and where would you locate these
charactersn
Now, q young woman with the true
dramatic instinct will locate all these char
acters, put them In their right positions
upon the stage, and, keeping each one IN
her own mind, will say her lines so wildly
that you can see in your minds eye each
and every character. She may not, being
untaught, say the lines with proper infiec-
ton, but you can plainly see that she real
ICES how many people are upon the stage,
where they are and to whom she should
look when making an appeal.
| Another girl, with a good voice and ap-
parently the same dramatic properties az
eyes, and will say the lines looking here
and there and yet nowhere in particular,
| thus robbing them of all interest.
What kind of a girl do we like best to
! train for an actress!
| Well, il is hard to tell exactly, because
the subtle element enters into the compost
tion so largely, that given all the qualities
i
woman might yet come to US and be refused
admission. We first consider her national
| ity. The French and Irish are the best, as
they are the most adaptable and suscepu-
BILE. The Germans are next if we except
Americans. who, being mixture of all ma
tionalities, are brightest of all. There are
rolls upon the variety stage which make
AMERICANS INVALUABLE,
and their ready wit makes them quick Il
learn a part and notice those points which
upon the first night takes best with ar
audience. The English, especially English
men, are good in society plays.
Among the Americans, the down-easteri
are the hardest to train. They are brainy
and smart and have a natural business fac
ulty, but they do not do well in roles oil
sentiment It is the Southern girl, with
her sensitive temperament, emotional ma
ture and dreamy eyes, who can move hei
audience and carry her hearers with hel
through oil the varying lights and shades
Of domestic life inwrought with unhappi
ness and tragedy.
As to height. it is great disadvantage Il
be short because however artistic one may
become in adding an assumed height Il
ones own stature, the actor can never quite
! overcome the defect with which nature ha,
handicapped him. If an actress, she vii
always find that it is difficult for her u
play stately or commanding parts. If shs
is slight she can add to her height by max
ing conspicuous her itheness and slender
ness.
Vocal quality, vocal expression and pan
| tomimic action must all be taken into &C
count in examining the qualifications o
| aspirants. Some people have naturally
good voice, good walk and an expressive
face. Others have 20 acquire these. Thu
former are fortunate, while the latter ar
not, but these things are wholly aside from
| the dramatic instinct. Without this last Al
actress is never q success, beautifully giftes
though she may be. But give her this in
| stinct and she is success from the begin
ming, because she had that which cannot b
acquired and to which all other things ar
subservient
THE BRIGHTEST GIRLS
who ever come to us are those who hav
been on the variety stage. They have beel
before the public for a year or two and hav
decided to learn those things which will en-
able them to take part in the legitimat
drama. Nothing ever disconcerts them; n
audience can ever throw them out OF coun
tenance. They come to US to receive tn
finishing touches. We have only to prun
and to refne-to teach them little elegance
of manner and speech which they have no
learned. They are our best pupils.
Ordinarily, with people who lack training
or stage experience, expression Is conveye'
by the face. At best the hands are brough
into use, but rarely Is the rest OF the bod,
called upon to perform any off1ce other thai
that OF vehicle to hold the head and arms
Now, this is entirely wrong. The bod.
must talk, and one should be able to sh0v
by the movements Of the body whether on