The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1896-04-21
DUsE IN "CAMILLE." /"


melas," or as it is best known to our
stage, Camille" Signora Duse's COM
ing was an event of great interest and
one of the most important of crowd
ed season. She is the most significant
figure in modern historianism and her
influence has been potent and far
reaching. Whether she is the greatest
of living actresses is a question that
need not enter into the discussion.
Comparisons between her art and that
of Madame Bernhardt are both odious
and invidious, because in the Judgment
personal taste is the largest factor. The
study of Duse's methods and Individual
personality is fascinating subject.
All students of the drama must admit
her influence. She is the key to many
recent performances and even in the
domains of art and literature her meth
DDS are making themselves felt. She is
to many the confirmation of long felt
convictions that the art of acting as at
present practiced is both shallow and
unreal To the younger generation of
actors her naturalism is a revelation
and inspiration.
Perhaps her methods are only those
of Photographic realism, but even so
it is a remarkable counterfeit of life,
which appeals directly to the human
heart. Without the aid of powerful
personal magnetism. call it genius if
you like, Duse could never have won
the popular favor that Is hers. She has
bravely cast aside every accessory of
makeup, elaborate costumes and cost
ly scenery. She makes no attempt to
look beautiful according to classic
standards. She has discarded all the
conventionalities of voice and gestures
Her figure is naturally graceful, but she
never has an imposing stage presence.
Her voice is not sensuously beautiful
but it is capable of an infnitude of
modulation.
Her face is wonderfully interesting
1t is a strong, sad face that is beauti-
full in its own way. Thomas Hardy has
said in one of his novels something
about new standards of beauty in art,
and that should there be a future clas-
sic period, the typical countenance will
differ entirely from the, old type. He
says: THE view of life as a thing to be
put up with, replacing that zest for ex-
istence that was so intense in early
civilizations, must ultimately enter so
thoroughly into the constitution of the
advanced races that its facial express
sion will become accepted as a new art
istic departure. People already feel
that man who lives without disturb
ing curve Of feature or setting a
mark of mental concern anywhere up
on himself is too far removed from
modern perceptiveness to be a modern
type"
Duse's face reflects the decadent
spirit of the times She looks like q.
woman who has experienced deeply,
and now is disillusioned and hopeless.
There is often in her photographs very
interesting studies for the psychologist
an expression of sardonic hunor about
the mouth. Perhaps this sensitiveness
to human absurdities has been her saw
ing grace.
As to her Camille" She is first and
foremost, not the Camille of Dumas.
She is a much more human and con-
vincing creature. Duse has arranged
the play to suit her own purposes. At
times she changes the text and she alb
solutely disregards the stage directions.
She has created q. Camille" that is
neither distinctively French or Italian.
1t has not the esprit of the gallis char
acter nor the passion of the Italian.
In the first act she appears neither in
genuous nor thoughtless in regard to
immortality of the life she is living,
rather disillusoned and Indifferent.
Even when she accepts Armand's love
she hardly appears to return his pas"
sion. She is rather interested in his
fervor and curious to try the strength
of his passion In the second act, when
she learns of his desertion, she is not
surprised, only disappointed. She ut
ters slowly and in q hard, monotonus
voice Reality! Reality" This would
seem to be the keynote of Duse's own
personality. BY the third act Armand's s
love has awakened real passion i'll her
own heart; but when she is told by Nj.
Duval that she must give him up she
makes no loud outcry against fate. In
the fourth act, where actresses ordina-
rily work up great climax, she sat as
though crushed and heart broken,
moaning, Armand! Armand" Duse
never makes what are known techin-
cally as points" She never works for
climax. The exit in the third act,
where actresses usually make a fine ef-
feet, half weeping and half laughing
UP to hysterical climax, Duse stole
quietly through the door.
The last act was done without any
repulsive evidences of consumptive s
death. Not that it was without pathos
the long, deep sighs, the fearful fond
ling of the wasted hands-but there
were none of the ordinary and conven-
tional accessories of n death scene. 1t
was very real dath and a shudder pass
ed over the audience when she fell back
on the bed.
All Duse's company have caught her
manner to a greater or less degree.
There is no wild saving of the air, and
they all talk low and never declaim.
They are not talented groupe, but
they snnear to better advantage in
other plays. Signor Rosaspina, is not
not equal to Signor Ando, who was with
Duse on her first tour.
One VINO has seen Duse only in one
part does not understand what her
greatness is. Not until the second or
third time does one recognize her mar
velous versatility and skill in charac-
terization. "Magda" and THE Wife of
Claude" are her most interesting per-
fornances, although the comedy work
in 'The Hostess of Goldoni and the
Individuality of her Camille" are per-
l. ..,,-, ora,,erallv 5ivertipu OpIx.