New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-10-02
THESPIS IS A HARD MASTER.
ELEANOR GEoRGEN ON THE TRAINING
OF ONE WHO WOULD BE AN ACTRESS
PHYSICAL CULTURE FIRST TO BE coNsIDEREo;
THEN VOICE DEVELOPMENT. ELocUTIoN
AND GRAcEruLNEss IN ACTION
AND BEARING.

truly or all the arts. the dramatic art IL the ,
least understood 1t is remarkable how many young
people conceive the idea of going upon the stage.
with apparently conception OF the fact that act
Ing Is a great art. which must be learned like any
other art. With a little dramatic talent. they
think, only give me a chance to get on the stage
and Will show you what do" not realizing
that those who have reached height In their
profession have done only through years of
training, study, struggle and hard work.
To realize how great is this particular art one has
only TO think how many so-called actors and
actresses are scattered over the world and how
few among them have reached distinction. One
cannot name twenty-five real artists alive to-day
without hesiatng time to consider who they
may be, and those who are famous throughout the
English-speaking world can easily be summed up
upon the fingers of one hard.
When oldest actors learned their every
theatre had Its own stock company; stars travelled
alone and were supported by these companies, and
plays seldom. II ever consecut!veiy longer than
n week, and often were changed nightly. This
afforded the dramatic aspirant the most excellent
training school he she could have; but In the
present day of travelling organizations and plays
OF long runs the novice has little opportunity of
learning his art. Consequently the dramatic school
has become n necessity.
dramatic school seriously; they do not in II
educational institution to prepare them for their
profession. but merely an open doorway to place
them upon the stage.
Almost the first question asked is: do you guar
antee position at the end of the course?' not
What Is your system OF training. and after
thorough course Of study what do you think will
be my chance of SUGGEST"
Does the young entering the medical or law
school ask: do you guarantee me a practice when
finish my course?" Assuredly not. lie knows he
learn his profession before he can practise It.
So too. with the different arts; the painter the
sculptor, the singer, the musician. and the
writer. matter how great the talent. must all
learn the technique Of their before they become
artists.
They enter the institutions teaching their partc-
ular arts to study. and not for supposed posi-
ton 1t will furnish them at the end of the term.
Art In acting will not grow until people thorough
ly comprehend that It is an art and that in choos-
ing the stage profession their highest aim
should be to thoroughly fit themselves by hard
work and study for their chosen career under these
conditions the rest will follow.
No dramatic school In the country can honestly
promise engagement to a single individual at
the end OF a prescribed course: they only lend
their influence to place the student In touch with
the manager and upon the favor Of the manager
and the ability OF the student the engagement de-
ponds.
TALENT ALWAYS WANTED.
Managers are always on the lookout for the best
talent, and the best talent Is dependent upon a
| truly tells U.S. Behind every bit of genuine art
there lies a training always arduous, sometimes
vigorous 10 the point of pain" and also In the
words Of Alfred de Musset. 1T takes great deal
of life to make a little art"
The question is often asked. How long does it
take to prepare ones self for the STAGE" 1t is DIFF
hcult one to answer; the length of time depends
much upon the individuality. temperament. power
OF application and special talent Of the pupil.
| should say that the very least time which
should be considered even by the most capable Is
six months of daily study and instruction to fur
nsh the student with the mere rudimentary teen
meal skill and we would advise not less than two
years where time and means will permit, TO give
sufficiently finished technique to do justice to
important parts.
COST OF TRAINING.
! Many young people have little idea, too or the
cost of dramatic training. regular course cover
Ing a period of six months, in a reliable New hork
hooi can scarcely be undertaken. including board
| and ordinary personal expenses for much less than
| 500
Many too come from distance with the idea Oh
| obtaining some light employment partially 10 pay
expenses This is a grave mistake. as the training
| IN the dramatic work is sufficiently exacting 10
empov all the time of the student both in school
and out The hours In school are devoted TO receN-
ing instruction. and the outside hours to practice'
| study and the memorizing or lines. l., .o,,,
The course of dramatic training IS not mir
~ recitation TO the frivolous minded and these
sometimes sink by the wayside, never 10 De near
| of again.
GRACE MAY BE LEARNED.
A utt,o observation shows how few persons pos
sess physical pose The greater number collapse
q, tho CONTRA when they sit down. That men DO so
,s epparent from the wrinkles in their vests De-
tween the line of the chest and the bottom Oh 'i'e
garment Men and women walk without Vi'ah'S III
their bodies; there is no balance at the centre VI
the torso or easy vital action from the hips'
A correct adjustment of the muscles means all
manner OF bodily grace. and. we may cohndeh'!
odd nerpetual youth Through the development Oh
the physical side of the nature the mentah'y oe
comes keener and more ready 10 receive ou'mai"
Impressions Mind and physique are closely aHeu'
and the training of the body TO periect poise
with q high chest easy shoulders and weil-carr'eu
head elastic footstep and expansive movements
cannot fail 10 arouse the inner being 70 hooei I'M
nuIsos and higher aspirations. Many persons VINO
traveI through the world with stiff ungainy bodies
and awkward movements might be just as easy
and graceful ms some enved friend or Acquaintance
~ they only knew that grace Is an art WHICH may
be learned.
NEED OF VOICE CULTURE
with these physical accomplishments 'nero -
nav, rho DEVELOPMENT and cultivation Of the voice
A. u,grocefnl movements result from misuse OF
the muscles so defects in the voice are usu'i'S
od nv had habits of utterance. With the ex-
cention OF the few persons who are ai'iic'ed WIN
some radical malformation OF the Vocal organs a
80, oor no trained in speech well as In music
10 utter pure tone -,
Nasal and other impure tones are generaNy ac-
ouired by unconscious imitation and the fauit can
be eradicated by judicious culture what can De
more desirable In man woman than resonant
mellow voice and beautiful, cultured speech Anu
both voice and speech may be made oeautiiui ana
attractive Surely such a result is worth all the
Mains that may be required 10 produce II. since
charm OF voice is Of the most important factors
In creating and maintaining influence over man
kind. , -. .,o,, ,ronorton,
departments one finds in the dramatic schooi an
artistic atmosphere in the study or the pes, ntera-
tire which cultvates the artistic spirit Inc SUI.
dent discovers new interests and beauties In nature
the mind broadens and expands to higher Ideals;
", .a-.,,,r. ls rend with q keener enjoyment ana