Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1894-02-04
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Al Rights ReserrsI BY ns Wilson Press Syn
Giedfe.
II Is so seasy not to write fve-act
tragedy, said NJ. Dumas. While he was
in the mood for making epigrams he
might have added, IL is so easy not TO
be an actress. The difficulties in the
way OF stage career are not as great as
they were, l daresay, but there Is no
easy method of becoming great artist.
1t is hard and steep road. Art Is an
exacting mistress. 1t does not matter
much what the medium is -painting,
sculpture, music, acting-every great
achievement pays the price OF patient
work aud earnest study.
0Al 1 know the old legend that
stage success is lightly won, lightly
worn and lightly lost. In q measure
that is true. 1t is only true, however,
when the success Is due to some fippaut
and accidental circumstance. II IL was
due TO art you may be very sure IL was
not lightly won. Any child may De
taught 10 paint. But all the instruc-
ton In the world will not make great
artist OF commonplace child. And
the first requisite for success On the
stage is this aptitude for the art. You
may call 1t genius or talent or Uha.
you will. 1t is the indispensable stun
out Of which the artist is made. You
can't make a brocaded gown out OF
linsey-woolsey.
Do you remember Mile. Clarion? l
think she is one of the most charming
pictures in that century OF pow
der and patches and high-peaked
bodices-ths eighteenth. The changes
OF her life-now German prln'
cess, again the illustrious tragedi-
enne, creating the leading role In
Vo.taire's greatest plays-would fur
nsh matter for a comic opera. II 10
impossible to imagine anything more
deliciously elghteenth-century. Her
life was one, as far "a the casual reader
knows, OF glitter and triumph and care
less achievement, In reality no actess
ever did more 30 deserve success. She
had the aptitude. Aud with that she
had industry.
How to be q great artist? One cer-
tail ly needs those two things. They
are tue material out Of which the bro
cade gown is made.
do not suppose any OF you has an
acquaintance so small you do not know
OF least one young girl who wants 10
90 on the stage" She NAV be infuen-
enced by any one OF dozen reasons. II
she is a girl Of adventurous spirit, tired
Of the calm, quieG and very polite
twillghts OF home life, she thinks going
on the stage the easiest way out"
This sort OF girl often becomes good
actress. The spirit OF adventure often
leads her to overcome all the obstacles
TO success. But great deal OF the
adventure, romance and charm OF an
actress life vanishes when the lights OF
the the theatre are turned out The
rest of her life Is hard work. There is
excitement and pleasure In IL, OF course
as there is 10 all artistic efforts, but II
is not without due measure OF WEAKNESS
and anxiety. Love OF adventure is not
Of much use here. The best thing one
can have is a belief In ones art and
love for ii.
The young girl who wants to go on
the stage" is very important and
ubiquitous young person. In fact |
always like to think OF her as a capital
ICED Young Girl-as though she we're
tendency. or phase OF civilization or
something OF that sort. Aud i like
cosy chat with her now and again.
miss Russell, / want to 90 on the
stage" the young girl says.
And why?" ask her.
Then she tells me all her enthusasms
and IN the end we come to 4 very good
understanding. She wishes to be
great singer and wants TO know the
secret" Really the "secret" Is like
the one In the fairy tale and that was
nothing at all. The personal equa-
tou," as the astronomers say, has so
much to do with the operate artists
success. The attraction Is not only In
her talent but in the individually OF
her talent. But there are certain
essentials, although they can hardly be
called a secret.
And so | tell the young girl-ths
personitication OF TIE feminine ambi-
ton and Unrest OF her century-that is
il she vsshes to be an operate artist
she mn have voice, musical culture,
QedlbUs OcdubNS PdbipuStt ihNAoNJ' III
deed one might add almost indefinitely
10 the list.
Success in opera really demands the
talents for two distinct arts. One
must be able to express one art In the
terms OF the other. The composer and
writer colaborate? the artist must in
terpret the intimacy between the
writer's thought and the musicians
emotion. | think 1t was Nine. Grisi
who said it required a passionate in
telligence" to be great singer.
Itmay be have taken the young
girl too seriously. She may "look"
uponsthe stage merely as = desirable
business. This 1t undoubtedly is. The
social conditions which have forced so
many women to make their cwn way In
the world have furnished the means.
There is a great deal OF cant written
about the stage. 1t is not nursery for
young Eorslites.
1t is not likely TO supsrcede the pull
Dit as "moral agent" But 1t has
undoubtedly advanced. II has become
as honorable as any OF the other artistic
professions; music, painting or litera-
ture. The young girl, II she has
strength TO carry herself safely in any
soIfsrrportfn1 walk NJ life need MAYER