The times. [volume] (Richmond, Va.) 1890-1903, 1894-04-15

dramatic art. II IL the province OF nl ,,s
matte art to present nature under AZ a 'ss
condiuons. TO present man in an , TO
poets, and in all his relation 70 nap' a
the world and TO all beyond the ira
The instrument OF the follower Oh h,e
matte art IL himself. His tools are hi s
own attributes; his soul. his mlh'' -
body. .,
The actor and the reclter make use y,
the same tools to create with thein o.
Illusion which shall quicken the lnlas' 20,
ton along the lines | have indlcateeu1.,
they differ widely in the KIND OF hi"e ,
they create and I'm their method OF I'm
ploying their tools The actor ehP.,n.,
his art TO make the audience Dehefe L.. .,,.
reality Is before them. Inc recltei ~
plOys his art TO establish a belei ~ ~ ~
own sincerity, and thereby to bring before
the minds Of the audience pictures wi
responding TO those in his own mint ln'i-ttor
The actor presents a fact; the IeS ~,
tells story The actor presents the hlu-
sion Of a thing as II is: the reciter sus-
eests a thing as it Is TO him. Inc -
osonality OF the actor is lost sight % ,ha
his presentation; the presentation o VI 49,,
{eciter IS seen through his persoiidlitss.
The actor adjusts himself 10 his supJeee,
the reciter gives form to his. Inc d0to'
IT. Ike the mirror that reflects; Tue "a
otter Is like the class through WINCH am
by means of which, the picture Is SEEN
The actor must efface HIS indivi9uallty,
save as IL adaDts itself TO and emphasl]e9
the Individuality Of the part; the PEI
sonaiity Of the reciter must stan1 -
curely poised between the story ana uhe
audience. What he tells depends upon
himself for the form, the color, OF e.ie
significance il assumes in the inasiiia 49,
Of those who hear him. He rs "a b,ipe'
and his authority must be recoenlIeu -
fore he can tax the audience along the
road he wishes to lead them
just here / wish TO suggest distinction
between the actor and the reclter. ne
reciter is at liberty to assume towaru IN, tne
story any mood and whatever personality
that seem most In sympathy with the
story, and, therefore. likely TO tell II best.
He will be the rollicking happy-go-lucky
fellow when he tells how Rill, the bold
rider, won the famous race He Will be
a thoughtful and serious person when he
tells Of the battle slain and the Lost
Cause, and Of the long days Of sorrowins
for departed friends. In each case he
may assume the personality that VIII
afford the best background for the story;
but the background Of a personality per-
fectly posed and 10 be trusted always must
be there
The actor Is subject to many restrictions
I'm the employment Of his art. Chief
among these Is the limitation set by MS
own nature. The actor can successfully
create an illusion Of reality only in such
parts as he is fitted 10 convey by nature
and physical attributes. Not so the re-
otter. He may tell about anything In the
world that interests him. and be certain
the audience viii share his interest.
The audience of the actor sees with its
own ewes: the audience of the recitcr sees
with his eyes. The audience OF the actor
feels as the reality that the actor pre-
sents makes them feel; the audience Of
the reciter feels towards the story he
tells as he wants 10 make them feel The
actor is: the reciter suggests. The actor
may appeal TO the audience only through
the character he presents. and may &C.
cupy toward his audience only such
relation as Is consistent with his charac-
ftr nj inc 1nl d
so the recter lie may choose his own
relation to the audience. lie may tell
the story as one who has seen what ne
tells. He may tell u as one who invites
the audience TO see with him. He may
tell il as though be were one with them.
and were telling what they see. lie may
take one position after another selecting
what at the moment may best reach the
people.
First. perhaps. he will be the story
teller. Somebody who thinks the story
wonderfully interesting. and is sure You
will be delighted with the wonders OF II.
He tells about the noble youth and the
solemn VOW he made. Then. all Of a
sudden. he is the noble youth, and, vault
ing into the saddle upon the noble horse
of his murdered master, which the imdgi-
nation of the audience supplies, he dashes
across the battlefield streWn with his
late comrades. the audience has before
them. Then he Is the stOry-teller again,
and tells what noble ride il was-a ride
to make the world ring-a ride 10 make
the very stars look down and cry. well
dOner and the audience joins the stars
and cry "Wel dOnet linen he alone
sees ana he cries to them to see too; and
they hang upon his words. because, evil
IDENTIFY something very dreadful is hap
pening. and the picture does not come
save as he speaks. The o, the fearful
sight All at once he is the fierce Indian
chief with uplifted axe and then he Is
forgotten: he isn't anything: ne isn't any
a no % q f4r
ful struggle between the burly chief and
the noble youth. they are blinded by the
dust, deafened by the roar. overcome by
the terrOr-and then, presto, ~ is all
gone. and they look 20 the st0ry-teller
Oh, what happened next? He. calm in
the peace of knowing all Is well. tells
that the noble youth won, and that "A
beautiful Indian maidcn-and then he Is
the beautiful Indian maiden. and they see
her long. dark hair, her bare. brown feet
and wel-rOunded arm, as with eyes bright
with the love light in them she throws
her slender form between that OF the
pale-faced lover and the angry father
The forest trees he makes for them a
peaceful bower. and then he shows the
noble youth and maiden getting married.
He BIDS them hear the silver bells ring
ing, and shows them all sorts OF wonder
ful things that they would never have
seen for themselves Then lie Is over with
them, and he shouts. Long live the
kingi" And they are so delighted over
then he is the reciter. making his bow
pictures. stOry-teller all are gone. ana
the audience. with a start. remember
him. and-well. then l suppose they clap.
THE actor cannot command success;
only his creation can do that" The re-
otter is always present IN his work, If the
picture he offers is not going 10 appeal
for itself: then he can interest the audi
ence in its appeal TO him. The actor and
his work are practically at the mercy Of
the audience; but practically the audi
ence is at the mercy OF the reciter. The
reciter may create an illusion by a single
move or glance that shall strike the key
note of the character he for the instant
wishes to present. The keynote being
given, the audience does the rest. and
clothes him with all the attributes neces-
sary 10 the characterization; but the actor
must not only strike the keynote of the
character, he must hold IL through all
the variations the play creates. He must
add form and speech and action In strict
harmony. creating the full chord. the en-
tire character and this illusion must be
sustained for about two hours, and under
all the varying, arbitrary conditions OF
the play. L. i.
-f----