Daily inter mountain. [volume] (Butte, Mont.) 1881-1901, 1900-03-17

make unnecessary motions. But there
is U an evidence of well directed
physical force in every blow that it gives
great power to the action. Sada Yacco
does not understand the methods OF
English-speaking m-elodramatic actresses
nut she shows plainly that a Japanese
woman can love deeply, hate savagely,
and then die quietly. 1t is a most inter-
esting Japanese picture where Katsuragi,
held by the priests, is struggling to reach
her rival, but it is a revelation. No one
would lave expected to find an emo
tional actress in Japan, for who would
have expected to find an emotional wom-
an there?
PLAYERS AT THE THEATER FRAN
Gals.
1t is hard for the average American
playgoer, who goes to the theater SIM
ply to be amused, with little thought of
the play or its actors, to appreciate the
loss the French nation has sustained
temporarily in the burning of the Thea
ter-Francais. In writing of the career of
this theater a well-known theatrical au-
thor once drew this parallel: IF the
Globe theater had been worthily main
tanned from Shakespeare's death until
now; If the best works of Shirley and
Congreve and Farquhar and Sheridan
If Barton, Booth n Garrick and Sid
dons and Kemble and Kean had appear
ed on it's stage; if u memory connect
ed 1T with every masterpiece of dramat-
ic writing and acting-then we might
form some idea of the position held In
Paris by the Coincide Franchise"
The aim of the Theater-Francais has
always been to give as nearly as posi-
BILE a perfect performance of a play, and
never to allow a star to dominate a pro-
duct1on. The players formed a stock
company, but a stool company Of re-
composition. as several of the
members were known throughout the
world. But on the programmes the act
ors names always appear in the order
of their election as associates, the names
of the salaried players following their
seniors. Sarcey, in writing on this mat
ter, once said: 1.-THE most insignificant
parts are filled, if not by first-class act
ors, at least by persons who nave stud
led long n know their business. In
plays like Hermann and Mile. de Belle
lsle,', for instance, there are a certain
number of very secondary
some of whom ave but a few words to
utter, while others say nothing at all,
These obscure parts, instead of being
given up to common supernumeraries en-
gagged for the night, are filled either by
young actors or by old actors who have no
other talent but their perfect knowledge
of the boards: in short, by actors who
form part of the company and who are
thoroughly acquainted with the tradi-
tons and of the house."
The list of famous actors which this
theater has fostered contains many of
the greatest names in theatrical histo-
~. Adrienne, Lecouvreur, Lekain, Tai
a favorite of the first Napoleon; Mile.
Mars, Plessy and Rachel are some of
those OF the past; while, coming down
to our own time, we find such players as
Bernhardt, Got and Coquelin. The loss
o. the playhouse itself will by no means
end the history of this famous institu-
ton, always a powerful force for the best
In dramatic art, and the temporary ces-
sation of the performances will doubt
less prove but an incentive to still higher
work in the future.