Daily inter mountain. [volume] (Butte, Mont.) 1881-1901, 1900-03-10
"SAPHO'

temptation of a pathetic death scene anu
live through it?
from my own knowledge. knowing now
they will weigh upon your anpltloh. l
know also that unless you are porn WIN
the true spark Of intense purpose that
they will Fighter you into other ..aucs,
OF course, l am assuming that you
aim to become a leading example OF the
best emotional acting.
AS nave told you, my own emotions
on the stage are real for the time being,
and l am quite positive that without q
degree of actual tragic sympathy with
an emotional scene you will never De
able to assume IT.
The theatrical effects of assumed act
ing are never convincing. Ihey never
represent the highest art.
Now do you still think you have emo
tional power?
If you are quite satisfied that you
understand the surrender the stage de-
mands OF you. this terrific surrender OF
all the violent passions and emotions OF
your nature, then l should say you have
emotional temperament II ought to
study for the tage.
1t is only when you are quite sure
that you have such a temperament. and
that YOU are equal to the Sacrifice 1t
demands. that you should begin to so to
a practical school.
i am demanding only the best, that
you may reach the best results In art.
Nnen you reach Il COlupclSill lNdSACA
you will discover all the crudity of
your emotions for stage expression, and
you will be shown the first requirement
of emotional power for stagework-emo-
tional restraint.
An emotional actress represents the
most difficult and exacting calling. and
l must persist in reminding you that
these lessons will inspire only the few.
the very few who are equal to the
work, in its highest sense.
Emotional restraint is acquired By a
familiarity with the necessary technique
of the stage.
You learn to speak distinctly. to walk
| correctly, to grace the stage with a fine
ease of manner.
| Then when you are quite sure of your
| stage footing, as it We're, you can begin
representations.
Dialect, eccentric speech, old age n
the host of complex details bearing upon
characterization.
! This ground work, which
schools supply, is invaluable.
| I cannot speak too warmly of the value
to the. stage of educational schools Tor
dramatic students. And there is MOTH
ing will destroy your talent so much
as improper teaching; that is, incom-
petent teaching. y
There are one or two schools. in this
city. I believe, which I could recon-.
! mend to dramatic students, but there
. are also a great number OF very danger
tOuS Ollldu lCdNIlSIS VI ~
who do the stage a great deal of harm.
l believe that the gift to impart dra-
matte knowledge to the stage aspirant is
as rare as the actors gift Of emotional
impulse.
Emotional restraint is the only quality
that AXE emotional acting safe and
not to say painful, exhibition without
true.
The average expression of deep or vio-
lent emotion would be a very clumsy,
emotional restraint.
It is the quality that separates thu
old fashioned method of emotional rant
ing from the suppressed force Of today
In these modern times we suggest oul
su~fferings; we let tears speak for us
and we do not make long speeches. Thu
day is passed when emotions were cere'
r monial.
We have dispensed with emOtiona
ceremonies that we nay practice emo
tional restraint.