Kansas City daily journal., 1896-12-29
ACTING. THEN AND NOW.


In an editorial entitled Some Theatrical
Reflections" the Chicago Chronicle briefly
fellows the course of the American stage
from it's beginning 10 its present state.
In addition to glorifying the past the
writer concludes with the assertion that
the present is wanting in artistic distinc-
tion. THE reason" he says, ''is that,
lacking the old training channels, there
are no players in the immediate present
capable of embodying the drama that
moves on that plane. On the whole En-
giish speaking stage there is not one
really great pIayer-not one artist with
that grand air which nobody can de-
scribe in words, but few fail to recognize
when present-not one of either SEX
This is rather hard summing up, but
1t would be more shocking to the con-
seTvators of dramatic art if it were not so
manifestly based upon meager analysis.
The writer has revealed the key to his
conclusions when he distinguishes the
genius of bygone days by its grand air"
1t is true that most of the great histrionic
figures of the past did have grand airs,
but it is equally true that they would not
time Within the paSs two decades we
have grown singularly unpoetic, un-
chivalric and unheroic-that is, according
to the old forms; yet people are just as
charitable, just as sympathetic and just
as patriotic as they ever were. They have
simply adopted more conservative means
of expression.
What is true of everyday life is true of
every profession. The stage is no ex-
ception. We are seeking artistic complete
ness rather than personal glorification.
The artificiality of the stage is now so
well understood by the general public that
a much nearer approach to truth is nee
essary. The past was much more senti-
mental than the present, and we shall
probably never again see such demonstra-
ticns as were given in honor of Edwin
Forrest, the elder Booth, Charlotte Cush-
man, Jenny Lind or others that might be
named. The rising of the pitt is ira
didon. Even Edwin Booth, in some re-
spects the greatest of all American actors,
had an adulation that was based on in
telligence rather than sentiment. Indeed,
Edwin Booth brought about the very re-
forms that robbed him of the demonstra-
tiuns that were given his fathers. He was
vastly poetic, but he brought idealism and
realism so near to each other that intellect
was a guardian of heart. The honors
shown him We're the greatest compliment
that mankind could bestow, yet he was
never made the public idol that some OF
his predecessors had been.
Following his example. the players of
this time have brought legitimate acting
as near to naturalness as it could possibly
be brought without defeating its own in
tent. Our greatest players surpass in
character study, intellectual verify and
sound exposition the interpreters of the
past. but they are probably not stamping
history as effectually. This is not an i'm
pressionable age. 1t is an age of reason.
That which is true of acting is also true
of play writing and play setting. Even
farce comedy has in measure justified
itself because it has done so much to
break up the old forms of the drama.
Intelligent burlesque is a potent factor in
artistic development.
We still have some truly great actors,
even If they have laid aside their grand
airs.