The morning call., 1893-11-03
PRAISE FROM A GERMAN
The French Actor Viewed by {
Berlin Artist.
ErlL THOMAS is ENTHUSIASTIC.
How the Partisan Has Done Good for
the Profession When Not Before
the Footlights.

NJ Coquelin and Nine. Hading ar
rived here last evening. The comedienne
was so fatigued by her journey that she
retired Immediately to her rooms at the
Baldwin, but NJ. COquelin, with an actors
passion for the theater, had no sooner
dined at the Palace than he went to the
performance of ''Cleopatra."
lie was found there by CALL reporter.
and though perfectly willing to chat be-
tween the acts. appeared to consider a
word pronounced during the progress of
the play to be a vandalism.
''What sort of a journey did we have {?
A charming one, | assure you; but l am
glad it is at an end. for it is pleasure to
have reached San Francisco. l was here
FIVE years ago. and retain most pleasant
reeollections of California"
When asked respecting his plans the
great French actor besitated moment and
then replied:
''Well. l seriously contemplate retiring
from the stage in a year or two. / am
growing old" These latter words, how
ever, were spoken with a jOvial smile
which utterly belied them, for NJ. Coqne-
lin is remarkably yOung-looking. Indeed,
when he stands beside his sen. who greatly
resembles him, it is hard at the first glance
10 tell which is Coquelin pere and which
CoQuelin fils.
We'll. it is my present intention to re-
tiTe," he resumed. but who knows? If
tney offer me some part that appeals to
my fancy the probability is that / shall be
tempted, and 90 on acting. | have pre-
sentiment that Sarah Bernhardt and shall
finish our career together. She has been
asking me for same time 10 play comedy
with her, and it's very probable that l
shall do so. l have always found ner a
good comrade and true friend.
''As for the repertOry that Nine. Hading
and l are going to play here 1t is well
known, except perhaps our version of The
Tanning of the Shrew'-'La Megere Ap-
pTivosee.' | had the adaptation made
according to some Of my own ideas, and it
had an exceptional success in Paris.
There are people, You know" pursued
N. COuuelin, smiling. "who believe that
not one word Of Shakespeare should be
altered. Now, venture to think that is
going little too far. The worln has pro-
gressed since ShakespeaTe's time; there
are certain things which appear to US
coarse, not to say brutal, which men ac-
cepte0 without question in Shakes peare's
time. Whatever changes have been made
have been with the utmost respect, the
deepest reverence for Shakespeare, and
Paul Delaie's adaptation of The Tanning
Of the Shrew' appeals to me as something
absolutely exquisite. | think the force of
q. play lies -StheT in the character por-
tTayed than in the mere action, and it IS in
the ac-Ion principally that the ellmina-
tinns lie"
OF course, in the formation of company
such as that of which N. CoQuelin and
Nine. Hadng are the recognized heads
much discretion has to be exercised il
order to secure the most desirable players
best fitted for certain roles. To adequately
act the plays of VictOrien Sardou, Paul
DelalT. Augier, MOliert, Scribe and Le-
gouve, Meilhac and Halevy, Erckman- Cha
trian, The de BauvilIe, Sandeau, Bison.
Nine. de Girardn, Obnet and Dumas filS,
1t is absolutely necessary to have people
who understand the art of acting and how
10 execute it. Special fitness is required in
4 number of cases TO secure the best re-
suits. There is little in the way oil scenery
or properties in French presentation. as
given by CoQuelin and Hadng. and both
artists appear in the same piece at nearly
every performance 10 attract the attention
of the audience to the players. The stage
setting is of the most simple description,
and nothing that is not absolutely neces-
Sary for the action or development of the
stage story Is introduced. As \ conse-
quence the players are expected 10 not
merely speak The words as so many players
do. but 10 speak AMI act cut intelligentiy
The characters they are suDpOsed to repre-
sent. In plays llke L'AVenturlere,
'Adrienne LecnuVreuT, lie Maitre &c
FOrges," Les Precieuses Ridieules," La
Dame aux CameliaS," and several other
works of the best known French drama
lists, their proper Interpretation depends
upon the ability, not only of the pIinclp pals.
but the players associated with them. Il
is this ensemble which makes the perform
anees of the French people so charming.
Their pantOmlme is so marked and so
intelligent that the auditor with the most
superficial knowledge of the play can
follow the stage story without knowledge
OF French. "a Scrap of Paper" Tanning
Of the Shrew," ''Adrienne LecOuvredr,"
The Forge Master" "L'Ami Fritz" are all
familiar to American piay-goers. and their
presentation in the original Will afford
The lovers of drama a chance to look at
them from a different standpoint from that
from which they have been accustomed to
see them acted.