St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1892-07-17

position on the dramatic stage, there
must be twelve ''stock" actors and act
resSes. And this number does moi
take into account the large auxiliary
force required in every theater. The
nature of theatrical business, as con-
Quoted today, makes IL necessary tia;
all these people should he instructed in
the business of the stage before they
can take any position or command any
salary in theater, however small, and
it is to meet this want that the teacher
of acting has sprung into existence. 1t
is merely new illustration of the old
law of demand and supply.
10 the question, why do we need
teachers OF acting now more than in the
past?" the answer is, I'VE do not" nor
have we any more now than in the past.
The difference is merely of kind. In
the old days of "stock companies the
stage manager, always an old. expert
enced actor, was the teacher. In the
case of "stars' they rarely achieved
prominence except through years of
hard work and severe coaching done Off
| the stage.
Where did Edwin Booth learn his
business? BY literally walking in his
his fathers footsteps. Fanny kemble
was taught grace by her mother, who
-
father. who was an actor. Kate Bate
man was trained by her father and
mother. Adelaide Nelson was trained
by. John Ryder, ali old actor. And the
| list could be carried on indefinitely.
Now the method of theatrical bust
ness is completely changed. An actor
| or actress is thought of by manager
for each part in a new piece, first, be-
cause of his or her personal appearance
or some special feature of face or figure
fits the managers or authors ideal of
the part: then they are tried at re-
| hearsal with the ''lines." If their at
tempt to grasp the character is hopeful
| they are given the part. The'better or
more hopeful their attempt, the better is
| the salary they will secure. If, on the
other hand, their attempt to grasp the
| part is not up to their physical fitness
for it they are set aside and some one
else looked up who will more closely
| combine the two.
| Now. it is just here that the useful
| ness of the teacher of acting is demon
strated. When the aspirant for dra-
matte career makes up his or her mind
to 20 upon the stage their first step
ought to be to obtain the best possible
wants to he doctor. clergyman, a
lawyer or a painter. Then, when they
| get a hearing. they will know how to
make themselves heard to their own
advantage.
Instances could be cited without num-
Der of women who, being led by the
ignis fatnus of their own vanity, have
rushed upon the stage, believing, in
their fatuous siliness, that their physi-
cal charms, their furbelows and jewels
| and the accounts of their esca-
pades would awaken such a flood
of curiosity to see them that they
would be able to ride to fame and
fortune on it's waves. But all-praised
he common sense and common decency
they have soon discovered that where
the public are seriously called upon to
make their artistic selections through
the prosaic medium of the ''box Office
the claimants for their favor must have
some real claims to consideration or,
after brief spaSm of notice, they are
quietly dropped into their well-merited
Oblivion.
In plain English, to secure success on
the stage, as in any other career, the
old methods of hard work, application,
energy and perseverance must be re-
sorted to, and the first step must he a
careful preparation at the hands of a
capable teacher in the technique of the
business and thorough training in its
| probabilities.