New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-06-25
RACIAL CHARACTER AND DRAMATIC ART

RACIAL CHARACTER AND DRAMATIC ART.
The subjoined remarks.-made long ago by the
writer OF Table Talk in the old English perodi-
ca. once a Week.-possess a special significance
for thinkers the subject OF Acting. This com
Tnentator had observed the custom still prevalent
Of disparaging English actors IN comparison with
those OF Italy and France. and in protesting
against that folly. he cites the concurrent opinion
Of the French teacher Delsarte. These views
which would be worthy OF consideration at any
tine pertinent TO the controversy that usually
attends the advent OF such performers as Sarah
Bernhard. Eleonora Duse and Constant Coquelin-
all Of whom arc likely to revisit America next
season:
ca Il It be A against IN oaPe e R Rnd 9ePesi9g it
on eTPe taking X of oaraevea as spd ttd
inferior degree, with the mmetic power. II was
professor Of elocution 70 the paris Conserva-
TORE. and the greatest master Of his arp
IS the general bearing Of her sons, has Yet pro
He accounted for this Gby him undoubtedJ fact by
the eccentrtcity of our national character.
his feelings and passions by useless demonstra-
I5 ne pens o [ee his p az 'eg are 20 De e' r
sentiment. are still and profound, not ardent and
once reused. his ire is deadly. and IS not to be
!aIa asleep III II has been satisfied s HIS END z once
and sputtering among the embers. The difficulty
and deep seated emotions is the Very cause Of the
tP bs on rare re sqSsss We have had in
The Italians, on the other hand, a sensitive and
rd BY every breeze Re Their own Inland
sea-s Their feelings, more acute than deep,
displayed every occasion,-because of their
weakness their strength When behold
them falling spontaneously into striking attitudes
and gestculating with unstudied grace and appro-
priateness We exclain, Every of these men is
a born actor!" say true. Yet Italy has
never produced who has left his mark the
age he lived in, and who will be noted by the
historians Of ms country. The writer forgets
RistoH and Salvni.-Ed.l Too much facility is
fatal to the attainment Of the highest excellence
IN
The thing applies. IN less degree. to the
French. With rapid perceptions, sprtghtly, grace
1ul manners. and language singularly well fitted
for sparkling dialogue, they depict fleeing emo
tons and scenes OF everyday life with trUthfulness
ease and point: but, when they aim at intensity
they apt 10 be theatrical rather than dra-
matte.
Actors OF merit there plenty, and perhaps
many in England elsewhere; but the tone OF
modern society IS unfavorable to acting of the
highest class. We do not seek great emotions
We go the theatre 10 be amused. We do not
ask be edited or reused TO enthusiasm The
human nature wish 10 meet with on the stage,
in our novels, is that Of jewellers in cities with
all their petty strifes and ambitions. We Ike TO
the sunrise over chmneypots. to look at night
by glare of gas lamps and call our narrow
views realism; Ano this IS the chief reason Of the
alleged superiority OF French actors. They excel
specially in the style Of drama now in vogue. In
comedy of manners they unrivalled for Yivacity
oexterity, and lightness OF touch.