The times. [volume] (Washington [D.C.]) 1897-1901, 1900-12-11

Russell Satsc On the Drama.
Russell Sage is of the opinion that
when the human race reaches its highest
mental development there will be no
theatres. His reason for this opinion is
this:
II have never been able TO understand why the
young men OF today deem the theatre an a',so-
lutte essential in seeking diversion. An evening
with good book IL. or ought to be, more salts
fling to the young man OF brains than an evening
in ! hall where lot of make-beiicre characters
ere strutting mp and down the stage, like cru
drcn at i masquerade
1t is probable that Mr.. Sage objects to
the theatre primarily not because it Is
silly. but because he thinks it is expen-
sive He knows that paper-coyered
book can be bought for FIVE or ten cents.
while seat in even the gallery Of good
theatre costs at least twenty-five He
may have an :dea that the average young
man spends FIVE or ten dollars every time
he INDUCES in this amusement. AS
matter Of fact. of course he does nothing
CT the kind, but the theatre is, generally,
more expensive than books.
The opinion above quoted is interesting
because n great many people used to
think as he does. il indicates an absolute
lack Of certain qualities which are sener-
ally regarded as essential to we'll
rounded and cultivated character. The
normal human being enjoys a coed play.
though he may like good book quite as
we'll.
Few people, however, analyZe the rea-
sons for their delight in the drama,
though if they did, they might realize that
their appreciation of artistic acting is
quite as worthy an emotion as Mr. Sage
appreciation of any book which he may
choose to read. The power of the actor
lies primarily in his ability to express, by
an art peculiarly his own, the develop
ment of character. He depicts human
soul. Just as the novelist does; the plot
of his drama shows the play of human
forces as they are seen in 4 well-written
history; he may. If he likes, convey
moral lesson with as much emphasis as
any clergyman who ever lived. The way
in which he attains these ends is complex
and marvellous, and every trait of the
man. every faculty of his mind. every
feature and limb, must contribute more
or less to this end No man can play the
part of a great villain without the tenn
permanent, though not necessarily the
character of 4 villain; he must have with
in him the possibility of becoming just
such a man a the character which he i'm
personates. There is no actor who pcs
sesses the power to act successfully
part entirely outside the range of his ma
ture. This in itself shows that the art CT
acting is one which may well engage all
the powers of great mind.
The actors personal magnetism is, how
ever, only j part Of his equipment He
must be an artist: he must produce upon
the stage, with living figures and actual
properties, pictures as perfect as those
which the painter creates with brushes and
canvas Often he must be not only an
artist but q novelist. since upon his ability
to appreciate and understand the values
CT human character depends his success
There are many great actors who are prac-
cally playwriglts, since they give their
advice and cooperation TO the man who
writes their plays; and in any event. the
art of Interpretation requires 10 less
knowledge of human nature, and richness
of experience ard emotion, than that of
creation. All this is more than the strut
ting masquerade Of children. 1t is the
combining Of many arts, more or less per-
fectly, in the person OF one individual.
vrt 30 i'm pf ba
drama; and since the actors vogue is
leeting at best. and the expense Of pro-
Gucing a play is great, the public must
expect to pay the price of its pleasure.
There are fey men and women who nave
paid for the privilege OF seeing Jefferson,
or Mansfield or Booth, or Modjeska, who
have not felt the money well spent One
may read Shakespeare for half a lifetime
and not get the insight into his real mean
Ing that may be attained in one erening
at the theatre. The actor has also been
reading Shakespeare for the greater part
Of his life, with the sharpened intuition
of one thoroughly In sympathy with he
dramatist's aims and methods: his study
has been undertaken for the sole purpose
of enabling him to bring out lie true as
pect OF the character which he portrays
it is reasonable. therefore. TO suppose tina.
he can teach his audience something about
The object of novel reading and the
study OF history is to know human nature.
The audience at the theatre also studies
humanity. As for the expense incurred
in theatre going, 1t is we'll to remember
that one can yet q good seat at a first
class theatre for dollar and half. that