The evening times., 1900-03-02

The view York Dramatic Mirror en-
ters a strong protest against what it calls
the miantile mania for laughter exhibited
BY the average theatregoer. Attention is
called to the fact that a mouse running
across the stage during the death scene
in King Lear" would instantly destroy
al the effect OF the acting and cause
burst Of laughter. 1t is also pointed out
that ff.y years ago tragedian who
Chaucod 10 De short of stature had lead
ing woman who was at least nine inches
taller than he, and that the audience Of
that day. understanding their greatness.
applauded the acting instead of smiling
al the contrast between the two. The
Mirror is of the opinion that this would
not be possible az the present time. and
hints that the audience Of today is de-
generate.
There is some truth in this. though per-
haps all the protesting that can be done
viii not have much effect on the public
It is undoubtedly true that a large per
centage Of the people who Labitua!Iy at
tend the theatre do not understand what
real art is. Fifty years ago the theatre
audience I'm America was made up- mainly
Of lovers OF the drama. for others could
not or did not spend money on such re,re-
alton. AZ the present day mulutudes 90
10 SEQ play merely because they wish
20 DE amused and excited for an evening.
and have plenty or money to crafty their
desires. To such people it is likely TO
make very little difference whether they
see an operate extravaganza OF one Of
Shakespeare plays. The latter is apt to
be the less attractive to them. because
they are capable Of judging it only by the
standards Of the variety show. Thus some
small happening OF the kind referred to
ty the Mirror affords them the amuse-
ment they seek. and it is all one TO them
whether their delight is caused by
great tragedian or a small mouse. There
may come a time when the rodent viii not
be able 90 compete with the actor
But there is another side 10 this ques-
ti0n. The actors profession Is subject TO
peculiar difficulties and dangers. because
Of its very nature. His aim is to make q
mimic world seem real 10 the on -looKer.
and to this end all the ui1utiae OF scenery
and costume should be as nearly perfect as
possible. There must be nothing which win
recall 10 the beholdcr the idea that what
he sees is not a reality The actor must
present living, moving panorama Of the
story Of the play. and the more intense and
tragic the emotions which he seeks to por-
tray, the more careful must he be that the
pictures are ideally perfect. Laughter and
tears are very near together. and every
one knows that in the most tragic incl
dents Of real life an insignificant hut Iuli-
crous happening viii often cause a laugh
II the actor does his part. the specta-
tors must DO theirs. for Il is absolutely i'm
possible TO produce a great play so that
at least small amount Of make believe
win not be necessary. When one goes 70
the theatre blase. Indifferent. critical in
clined 20 pounce on every petty defect. this
attitude Of mind is likely to destroy the
effect Of really good acting. Il is much
better in seeking this form OF recreation
TO fix ones mind upon the strong points
OF the play rather than the weak Cnes.
There are some people who can never en-
JOY grand opera unless all the details are
exactly right. This rarely happens in
opera, because a fine voice and dramatic
ability do not always so together. and
sometimes the manager Is Obliged to