Kansas City journal. [volume] (Kansas City, Mo.) 1897-1928, 1897-05-23

a story around some well known actor.
Perhaps it is Mansfield, possibly Sol smith
Russell, Olga Nethersole. Mrs. F1ske or
Goodwin, who stands, an imaginary pres
ence. in the corner OF the studio, where
each line or scene may be tried on, Just
as the dressmaker or the tailor nts his
handiwork from time 10 time. ANXIOUS TO
produce something to suit Mansfield, the
playwright studies that famous artist with
the utmost diligence. All of his artistic
~idiOsyncrasies are made the subject OF an
alysis in the hope of getting the seams, but
and when the play is finished the discov-
cry is made that it is little more than n
crude dramatiZation of the individual who
stood as model.
With the secret of their origin thus eN-
posed, IL is not passing strange that the
public should find a strong family resem-
blar e IN all the characters played by each
/ actor, VINO Is supplied in accordance with
this modern method. The result could not
be otherwise, ard it is a result not only
dangerous 10 the actor, who is thus cab
IND. cribhd, milne bound in by his
own personal limitations, but to anna
values at large, which must depend upon
types and not upon the mere reflection of
individuals.
Digging down n little deeper into the
truth OF the matter, We discover that this
method Of making plays TO order is due
largely TO the feeble. talentless, uninspired
persons who force their way into the
dramatic ranks, and, by virtue OF impu-
uence inquire as stars Unable to lit them
selves to the characters of standard COM
edy. they engage Il literary tailor to fAke
their measure. bring out their good points
ana conceal, as well as possible. their de-
fects. This IL the origin of the present
usage, and such distinguished artists as [
have named. together with many others,
are made victims of il. The dramatist of
the present day, who Is, first of all. a not
boiler, has become so accustomed to tape
measure and yard stick. TO the operations,
indeed, OF merchant tailoring, that he can
no longer rise to the heights of an alb
stract creation. He must sit cross-legged
on the table and stitch away upon d gar
ment Intended TO fit the peculiarities of
Ors do.
IL may be presumed that Sardou has
written no play for years without direct
hardt, and there is not one masterpiece in
AL that he has produced. The French com
oGy writers nave labored for Got, Coquelin
ana ReJdne, and every line is of little more
than ephemeral value For the English
dramatists. Henry Irving is the model upon
Beckett" king Arthur" and Don Quix-
ote are of the efforts made to
supply, the great English actor-manager
with characters modelled with reference to
his own individuality. and it is probable
that neither .PinerO, Grundy nor Jones has
written a play Tor years without special
reference to some particular actor of the
over against these facts is the startling
assurance that no dramatic masterpiece
was ever written in accordance with this
perfunctOry plan. All the plays of the
early English and EliZabethan period found
their inspiration in the imagination of the
author and without reference to the actor
who might be charged with the duty of
interpreting the leading role. Shakespeare
WI ote for all actors and for all time, and
all the great dramdtists of the English,
French and German schools who left stand
ard plays behind them followed the same
plan, in which inspiration was given full
sweep, and the made-to-order methods We're
left to the eager, pot-boiling dramatists
of another day.
1t is evident, in the blazing light of all
the facts. that the dearth of good plays SO
deplored at the present time is due
in large measure to this u~nimaginative
method of creating them. When writers
broaden their style. refuse to be bound
down by the peculiarities of any actor and
develop character types instead of mere
copies of individuals. there may be some
hope for an occasional dramatic MASTER
piece.