The evening times., 1900-03-02
Appreciation of the Drama.

The New York Dramatic Mirror en-
ters . strong protest against what il calls
the nfantile 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 a
burst Of laughter. Il is also pointed out
that fifty years ago a tragedian who
Glanced 70 be shcrt Of stature had a lead
ing woman who was at least nine inches
taller than he, and that the audience of
nat day, understanding their greatness
applauded the acting instead of smiling
at the contrast between the two. The
Mirror" is of the opinion that this would
not be possible at the present time, and
hints that the audience OF today is de-
generate.
There is some truth in this though per-
hsps al the protesting that can be done
viii not have much effect on the public
1t is undoubtedly true that large per
centage Of the people who habituaIly at
tend the theatre do not understand what
real art is. Fifty years ago the theatre
audience in America was made up mainly
of lovers Of the drama. for others could
not or did not spend money on such recre-
alton. Al the present day multitudes go
to see a play merely because they wish
10 be amused and excited for an evening.
and have plenty Of money to crafty their
desires. To such people ii is likely 10
make very little difference whether they
see an operate extravaganza or one Of
Shakcspearo's 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
ly the Mirror affords them the amuse-
ment they seek. and it is all one 10 them
whether their delight is caused by a
great tragedian OF a small mouse. There
may come a time when the rodent will not
be able to compete with the actor
But there is another side to this ques-
lion. 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 to the .on-looKer.
and TO this end all the minuIiae Of scenery
and costume should be as nearly perfect as
possible. There must be nothing which win
recall 10 the beholder 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 10 pur-
tray, the more careful must he be that the
pictures are ideally perfect. Laughter and
tears arc very near together. and every
one knows that in the most tragic Incl
dents Of rcal life an insignificant hut luai-
craus happening viii often cause a laugh
II the actor does his part. the specta
tors must DO theirs Cor ii is absolutely i'm
possible 10 produce a great play 50 that
at least a small amount of make believe'
win not be necessary. When one goes 10
the theatre blase Indifferent. critical. in
clined 10 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 Gnes.
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 go together. and
sometimes the manager is obliged to