The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-03-17
ART OF STAGE KISSING
VIEWS OF wIELL-kNowN ACTORS ON
THE INTERESTING SUBJECT.
olga NethersoIe n Great Exponent
of Realism In Embraces-Keen
Agrees with the Doctors.

esting subject, and the views of a number
of prominent actors on the question make
interesting reading. Emma Abbott was one
of the few women on the American stage
whose realistic stage kisses are
with positive delight. To-day Olga Neither
sole is the greatest artist in this line of
stage business before the public of the
Western world, as anyone must admit who
witnessed her performance here in 'Ca-
mile recently. This little English artistic
fathoms the depths of the art of stage kiss
ing in a way that would have been a lesson
even to Abbott herself. But the players
differ in their views as to the real value
and necessity of the osculatory art being
so faithfully carried out, and it was only
recently that Fraulein Leuthold, an actress
In Vienna, was dismissed by her manager
for refusing to be the victim of an actors
impassioned embraces. Still more recently
Effie shannon, of Mrs. Langtry's company,
secured several columns of advertising for
refusing to play a scene with Eben Plymp-
ton in Clyde .Fitch's Gossip that con-
tanned am extremely realistic kissing act.
1t should be added that Miss shannon,
after many arguments and stupendous per-
suasion,' consented to be embraced by
~Plympton. and the production was not
spoiled. The Boston Globe has gathered a
series of interviews with well-known play
ers In answer to the question: Are stage
kisses permissible, and should they De the
follows:
Regarding kissing on the stage, it should
be treated and looked upon as any other
think that many kisses have led to love
and marriage DO think It is all in the
ing, and as some ec9n resist aH and every
temptation in the world, so are they ada
mant before the stage kiss. I do not up
stage, for that would delay the action, and
y mot NECESSARY sbe s4sys i til Is n nssessary to w, 20
and should be acted-to initiate nature, and
me nearer mature F fss sSsa' DA 'Ps Sfa.
1t is a matter of utter inconsequence to
me whether people do one thing or another.
WILLIAM GILLETTE.
There is no reality on the stage, but all
should be as realistic as possible. So much
for the groundwork of my reply Con-
sistent to the purpose or the stage, let the
/. For health. Many physicians declare
thai osculation i pernieious, and where one
tndiscriminate persons it is most objection
able.
than stage deaths or stage marriages? A
real death is not necessary to impress an
audience. Why, then. the necessity of a
8. Real lovers are very often allotted to
perform the roles of stage lovers. Their
natural impulses at times carry them too
far. Art is sacrificed to the intrusion of
their personalities-they become more blind
than the mole-the quicksilver of natures
mirror (which our profession should strive
to hold up) is scraped off, and their actions
become insults to intellect and good taste,
and IudicrouS in the realms of art.
4. We claim to be educators. Grant that.
and the chief aim should be to keep within
moral bounds-to do nothing to infame the
blood of Cur auditors-young eyes are quick
to see-young minds easily impressed.
stage kisses are, of course, but should be
SO well feigned that they will appear to be
the real thing to the audience. 1t seems to
me that an actress who refuses to submit
to the kisses Of the stage lover (stage kiss
es being a part of the business OF the
stage lover'o is over-prudish; she should
retire to a nunnery. for she is not a true
artist; The artist artist 81 should nriva sinS faa MS or fr nep
FREDERICK DE BELLEVILLE
If Hamlet could be asked the question he
would answer, 10 be or not to be; that IS
the question:" And that is the question.
Is real kissing ito be or not to be- so far
as the stage is concerned?
If the business of the play. as pre-
scribed by the author, is TO be strictly COM
piled with and carried out, then the actor
or actress has no discretion whatever, and
If the author has directed real kisses. then
the prescribed .iusaness,'' as absolutely di-
rected by the author 4hsi . and must be sbs eom e ini
cidental to the part which the author has
directed. However. If an actor or actress
nss ,ntrodnce or cut out such "busiaess' as
may seerr the most artistic and suitable,
or the reverse, to the scene to be enacted
or desired.
IF real tears are shed upon the stage in
great emotional parts, why should not real
IF the author has directed in the bust
ness of the scene that he or she must
Weep.', why. he or she must weep, or tuat
he 81 she must give or take a real kiss
then he or she must give or take a reai
Of course, If the lover be not agreeable
or the lady be not o' oWer NO loVe hs n ans pnoal
in as realistic a manner as under more
favorable conditions.
the kisses Of the stage s, lover, nth althoqbg sr
cording to strict rules, but all rules are
proven by the exception, and IT is possl-
BILE that hr;,,i M nf genius eenlno that she may be a
law unto herself, and hence overrule all
rules of the stage. -
In regard to everything appertaining to
the stage and true dramatic art, desire
on The stage where the author has pre-
scribed and directed them in the bust
MELBOURNE MCDOWELL.
I don't think it is possible to follow any
rule about stage kissing, except on the old
principle. The real thing is always best.
Still, / think one Is generally controlled
by circumstances. If one wishes to be
very m and merely fake a kiss,
and the scene Happens TO be one of I'M
usual warmth or strong emotion, / think
1t will be materially weakened by waiting
to consider such a detail. If it is a scene
or ordinary interest or of no special inn
portance, it Is Just as well to pass it over
with a make-believe kiss. 1t viii serve
the purpose and possibly save you the OBJ
iectionable ordeal of kissing some man or
woman who may be distasteful to you. /
should say il is safest to follow your i'm
pulse. II is sure to apply to a stage kiss
as well as to all others
Let your scene and surroundings be the
KATE BYRON.
In my opinion. when kisses are pre-
scribed by an author. they should be as
r~eligiously given as medicine prescribed by
a physician. If not, how can we hope for
a perfect exploitation of the authors ideas
or an absolutely perfect dramatic or lyric
L do not think that the question of real
Ayers IEm