The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1894-12-12
What mansfield thinks
Greatness Can Yet Be Achieved in
Shakesperean Roles.
PUBLIC MUST CHANGE, HOWEVER
That Treat OF the past-Mansfield's
Advice to Bronson Howard - His
Opinion of Actor Henry Irving.

Richard Mansfield, who appeared at
the Academy of Music last night in
Beau Brummell," has for years been
one of the most notable figures in the
atrlcal circles i'm America. He has run
the entire gamut from comic opera to
tragedy, and none of his impersona-
tions have sunk to the level of the ordin-
airy. In an interview Mr.. Mansfield
thus expressed himself on theatrical
matters in general:
II believe that an actor may yet
achieve greatness in Shakesperean
roles. But it will be only when a change
comes over the popular idea of the ac-
tor and his art, when the characters of
Shakespeare are recognized as human
beings, and their human Interpretation
is recognized by the people as the only
true one"
MY conception of the character of
Richard was not accepted. And yet l
believe now, as believed then. that |
was right. endeavored to take Shakes
peare off the library shelves, if / may
use the expression, and humani2e them.
They We're men, and because they spoke
lofty sentiments in beautiful language
why should they rant and declaim
them? | strOve ITO think out how men
in their positions with their surround
ings, with the motives, the ambitions,
the loves, the hates, by which their
careers were influenced, would feel,
think, would act | endeavored to play
Richard from the inside so to speak,
to lose myself In the character as ! saw
1t. But | ran blank against tradition,
the blight of the stage. ! received a
brief and pointed letter in Boston. con
talning only these words: More
hump, Richard, more hump"
1t Fails 10 Draw.
But even the declamatory Shakes.
fails to draw unless produced with a
tremendous splurge."
What is to blame?"
''Fhe public does not want 1t, and as
say, the revival Is only a possibility
of the future. The people have to be
dragged into the theater. They do not
go because they are fond of an acto!
all nonsense. If | put the effort Of my
life into a character, and at the cost of
physical and mental exhaustion portray
the part with all of the power that God
has given me, the people will not come
on that account. If | put q lot of
houses on the stage, march in some
soldiers, and burn a lot of gunpowder,
ha "a %, h.,
house. Suppose you unite an idyllic
play, interesting in story, symmetrical
in construction, perfect in characterize
ton, unapproaohable in literary style,
but devoid of sensations, or mechanical
effects. A melodrama, roughly hewn on
conventional lines, with an old stock
plot, impossibly constructed, provided
there is sensation, machinery, tank or
what not-the melodrama will run 4
year where your idyl is lucky to live
month"
why do you, Mr.. Mansfield, and the
other foremost actors of the day, pro-
duce plays which treat of the past,
whose color is historical and must be
bookish? Why do you not portray
phases Of contemporaneous llfe?"
Drama of Today Wanted.
"Why doesn't some one write
drama of today worthy of production?
Bring me play Of today and | shall be
only too happy to produce It, There is
more pathos, comedy and tragedy in
walk through one of our streets than
would serve to inspire a dozen plays,
could the man arise to divine and paint
1t all for the stage. Our dramatists
write only for the hour. Their work
will be utterly forgotten when they are
gone. ! once asked Brnson Howard
why he did not try to do a permanent
work. 4 have to live,' he replied But
you'd live longer if you wrote one great
play The attempted portrayals of
life are written from
the standpoint of the garbage heap. /
do not want to act from the top of
garbage heap. l would not be seen in
The Second Mrs. Tanquery.'"
Speaking to you, personally, would
you prefer to portray modern life as
against the historical characters which
make up your repertore?"
Yes; for I see larger possibilities in
modern life. l had hopes at one time
that Ibsen was going to prove the
coming dramatist for the interpreta-
ton of today. But he Is too petty, and
uses a sledge hammer TO drive carpet
taclss. Yet great man may arise to-
morrow to catch the spirit Of the modern
and dignity it into permanent dramatic
literature"
ITO change the subject, you remem-
Der, of course, the controversy between
NJ. Coquelln and Henry Irving as to the
actors attitude toward his art?"
Takes Issue with Irving.
"Yes. very well, Irving's doctrine Is
that an actor surveys his art at all
times and that he never loses himself
in the part which he interprets. This
was his attitude in arguing with Coque-
lin, and neither man covered the whole
question. AS a matter of fact, in dra-
matte matters, never agree with Mr.
Irving. l believe that the actor must
lose sight of his own personality in his
part. This directly opposes Mr. Irving.
For the time the actor should be the |
man he portrays and no part is beneath
his dignity. ! endeavor to throw aside |
my identity and to feel, think and move |
as the character must have felt. |
thought and acted, as determined by |
the careful study which creates my in
depreciation. For example, In my new |
play of Napoleon Bonaparte,' l re-