Kansas City daily journal., 1896-11-22

The art Of acting as represented by the
ranks Of the theatrical profession IS
strange product when one considers the
motives from whith it is born and the pro-
ccsses through which it IS developed. Most
OF its exponents depend upon intuition rath-
er than study; upon coaching rather than
observation; upon tradition rather than
xerlty. This cannot be said OF any other art.
Actors as a class live a dreamy existence,
strangely out Of touch with the practical
vitalities Of life. and still more strangely
tnattentive to its poetries Few Of them
care for the affairs Of the masses, and still
fewer Of them ever come into anything
like sympathetic contact with the people,
types Of whom they are supposed to pre-
sent for the entertainment OF those who go
70 the playhouse. Now and then We learn
that some actor or actress has gone to the
prison, the asylum or the hospital TO study
the manifestations of criminal tendencies,
mental arrangement or physical suffering;
but as rule the people of the stage de-
note vlIlainy. insanity or agony according
10 precedent.
ditions Of the stage are likely to be near
TO truth; but comparatively few players
give themselves the trouble of analyzing
the basis of even the best established rules
OF hist9ionic usage. This IS particularly
true of those who have cast their lot in the
field Of the classic drama. Even if personal
Investigation. conception and portrayal ar
rive at the same result that tradition has
set forth. how much more convincing are
the conclusions when the modern stamp is
put upon the ancient design.
Have you ever noted with what tender
cherishing an aspiring actor regards the
possession Of a prompt book Of Forrest,
Booth. Hackett or other distinguished play
er OF the days that are gone? 1t is Ger
tainly not inconsistent 10 say that if the
actor is worthy of the place to which he
aspires, he should be able TO make his own
prompt book. Yet old prompt books, or
anything else that represents other peoples
views Of play or character. is rot to
be despised, but they should be used for
suggestion and rot for foundation.
In Kansas City We have recently had two
examples Of men who are thoroughly ac-
quainted with theatrical tradition, but who
have the courage TO take from the past
only those elements of strength and beauty
that are sustained by their own careful
study and wide observation. They are
Richard Mansfield and Wilton Lackaye,
widely different in some respects, but alike
In one particular. 1t would be hard to
enumerate those who have been content to
follow the beaten path. The rarest type
Of all is that Of the actor who depends
too much upon mis- own concepts, but this
type has also been met within the past
week in Mr. Whiteside. There is probably
no other actor of Mr.. Whiteside's expert
ence and achievement who has had so
few helpful opportunities. For years he
toured the West with companies that were
@ drag rather than an Inspiration receiv-
ing little intelligent criticism, and unaided
by extensive theatergoing and its attend
ant advantages. His first inspiration was
expressed through the medium of elocu-
honary readings, and he has never quite
rid himself OF the Geclama style ac-
Qufred by that method of Interpretation.
But he has displayed a measure of original
ity in the presentation of familiar plays
that helps to make him an especially inter-
esting actor at first hearing. But it is now
time that he should modulate, subdue and
refine his art by every aid that he can bring
TO supplement his own researches and their
resultant conceptions and methods. If
were Mr.. Nhiteside's backer. and could
afford the indulgence, l should keep him
OF the stage for a year, give him six
months of that time in New York and
six months in London, Paris and Berlin
know Of no one holding a conspicuous
place on the stage so ripe for suggestion
as Mr.. Whiteside, or who would probably
show greater growth under the advantages
afforded by a wide field of observation
Have you ever thought how little acting
the people Of the stage see except in those
plays Of which they are a part? The most
casual theatergoer is much more compe-
tent than the average player TO Judge act
ing from the front" Many player does
not see a single theatrical presentation
from the beginning TO the end of the sea-
son, save that of his own company
Most actors think II is 4 misfortune to
be out OF an engagement. but II they have
enough TO live upon and have the intelli-
Gence and force TO rise above mere inii-
tation, to be occasionally out Of emplev-
ment can be made a great blessing This
IS especially true of those who are engaged
in the presentation OF the modern drama.
There are az the present time a roodlv
number Of profitable examples of the
highest art the American stage has ever
Brought forth. but 1t Is mostly employed in
the acting of the modern colloquial drama
il Is generally the art without the thrill,
but We have now come to favor this rather
than the thrill without the art
There Is no danger rlat We shall ever
return 10 the extravagances Of former
days. Even the classic drama must be
modernized, or, more properly speaking
must be verified by consistency. II 1t shall
be made acceptable to the advanced taste
of the present day. That it can be SC
transformed has been eXemplified by the
Richard Of Mr.. Mansfield. and to some
extent, by the Hamlet OF Mr. Skinner, tc
again note examples that are fresh ir
mind. Certainly IL we can set Richard of
with a parlor match instead of dynamite
we can consistently modify the traditiona
representation OF any other classic char.
acter
Mr.. Laclzaye has new third act fo7
his play, Or. Beleraff". It serve:
20 give more extended opportunity
20 Gerald and Agnes and to emphasize tn.
maCrauimjty OF BelEraff, whose ultlmat,
abuse Of Agnes IS only through self-pro
lection. Many changes have beer
made in the play since its first produc
fion. For example. rs 4 originally stood
Belgran had married Agnes IN the thirr
act, a dissgreeable relation that good tast,
has betterel. Changes are -stTIl bein,
made, and viii doubtless be made for sev
eTai weeks - come. would like to sug
Eest to Mr.. Lackaye the omission OF tn,
lIuc sister for sister, This can well b.
spared since tho latter part o. the pIa1
has been 50 modified rs to vindfeate Bel
Eraf's attitude toward the sister % tn
murdered man. 1t Is a hackueyed expires
sion and ought 10 be cut We have har
brother against r-.fHcr." "fqther 70