The Helena independent. [volume] (Helena, Mont.) 1875-1943, 1891-07-19

The brightest girls who ever come to US
are those who have been on the variety
stage. They have been before the public
for a year or two and have decided to learn
part in the legitimate drama. Nothing ever
~disconcerts them; no audience can ever
throw them out of countenance. They
come to us to receive the finishing touches.
We have only to prune n to retine-to
teach them little elegances of manner and
speech which they have not learned. They
are our best pupils.
Ordinarily, with people who lack training
or stage experience, expression is conveyed
by the face. At best, the hands are brought
into use, but rarely is the rest of the body
called upon to perform any Office other than
that of u vehicle to hold the head and arms.
Now this is entirely wrong. The body must
talk and one should be able to show by the
movements of the body whether one is
pleased or unhappy, and whether one is
agreeing with the speaker or disagreeing.
Take the simple sentence, at is not 80"
Think of how many ways there are of say
ing that without uttering a sound. Let us
leave out all except the one sequence that
comes with emphasis. To begin with, sup
pose you wish to say simply and as quietly
as possible, ut is not So" Without speak
ing a word, u closing of the eyelids and u
slight dropping of the mouth expresses this
sentence. We repeat the thought more en-
piuUlJtllSs LIE I'LL IN y Clos0u,
the mouth droops, the nose contracts
slightly, very slightly. and the head is
turned a little to one side. There is a
slight closing of the hand.
Again, ut is not so.' Thu right hand
sweeps across the body with a negative GEES
ture toward the right, the back of the hand
is uppsrmost, and the head moves toward
the left with a negative turn that is almost
n shake. Once more. ut is not So" And
now the whole moves. The hips, shoulders
md head seem to be turning violently
away, IA if in utter adherence of the idea,
while the hand sweeps away as if it were
brushing all thought of the object from the
mind.
But one more way remains, without &C
tual speech. and that is to rise with all
these negative gestures, to rush from the
room with the long stride that indicates
grief. disgust, denial and despair.
Lifting the shoulders and lifting the chin
are both strong expressions. They are rare
and should only be used when abandon
ment and intense emotion are indicated.
A young woman or a young mar wishing
to judge of eligibility to a school of acting
cannot be his own critic az to points of ex-
preston. The only thing that can be self
determined is a natural fondness for the
work and the knowledge that one has the
ordinary requisites for the stage, to-wit: A
fair education, sensitive temperament, and
no serious physical defect. AS to age, we
prefer scholars from 23 to 80. For special
roles character parts) they are eligible be
You'd those years.
An actor should possess manv accom-
plishments. He should DO able to sing,
dance and fencl have an eye for color and
form, as in o. timing. HI ear for every
shade of dialect, much business faculty,
and a mind we'll stored by observation,
study and experience. The larger the
knowledge of other arts, the better.
In the old DAYS beginners in acting were
simply apprentices in their dramatic work
shops. Now there are schools. Such has
been the educational advance in the study
of acting that the dramatic vocation has
become n profession rs we'll III n trade, de-
mnnding knowledge us we'll M skill.
Dramatic training first Strengthens and
tunes the actors instruments-the body
and tho voice. 1t educatos the mind to n
fuller realization of the power and quail
ties OF action, diction and stage effect than
the experience of real life afford. Careful
training helps and develops not only the
technique of the stage and dramatic eff
feet, but also tho very, spirit of tho differ
ent pnrts in tho play.
/ would say To everyone who wishes to 90
upon the stage; Abandon all hopes of sud
den success and devote yourself honestly,
earnestly and thoughtfnlly to systematic
drill and training.
FRANKLIN II. SARGENT,
Director of the American Academy of tho
Dramatic Arts.
Copyright.