The Washington times., 1901-12-22

| ut should also be noted that these
| schools are conducted on their revenues.
| and Tor profit: therefore they must be far
| more restricted in what they have to
| oner the pupil than would be the case Of
an endowed Institution conducted for art
alone. On the other hand. the charges OF
!, these private schools bar many deserving
| aspirants from enjoying their advantages.
since talent and the means to cultivate 1t
do noe always go together. Some of the
brightest lights of the stage have risen
from poverty and obscurity, but the
struggles and the privntions they we're
| obliged 10 undergo warped many noble
| natures. and doubtless hindered their full
| fru;tion.
II would like TO see an institution which
could, and would, educate the poorest OF
aspirants. provided they could show in
their matriculation examinations that
they possessed notable and undenlable
! talents for the stage. other arts and
scienees have institutions so literally en-
dowed that their tuition fees arc merely
nominal. while free scholarships are
plentifHl.
why should not a dramatic university
be equally well equipped7" enquiries Mr..
Hackett. Before national theatre IS
possible 1t will he necessary to train a
class of actors capable of carrying out its
aims: and 10 this end conservatory is
not an adjunct but prerequisite There
fore. before any step is taken toward an
endowed theatre, either by private or
Government funds, | hope the iaims of
university of dramatic art VIII be care
fully considered
Air. Hackett believes that the most i'm
portant consideration. next to the finan-
cial foundation, would be to devise n
system of matriculatiou examinations
which would effectualIy seDa rate The
wheat from the chaff.' barring nobody
whose calling TO the siege could be de-
veloDed, and efrectuaIly excluding those
stagestruck people whose vanity Is their
principal incentive for wishing to appear
before the faotlirhts
Mere precoeity cannot always be ac-
copied as evidence OF lasting ability
says Mr.. Hackett. "and great talents are
some ines hidden under mask of
modestY which 1t takes some time to re-
yeSi. Nevertheless, / believe that the |
systems Of the foreign onservatories.
combined With good Ane lean common
sense, should enable the faculty to de-
wise system of entrance examinations.
and POSSIBLY trial courses. which would |
fairly and thoroughly test all applicants, |
whether rich or poor. educated or ig-
ncranf For IL must be remembered that
some OF our greatest actors have risen
from the ranks of poverty and illiterncy.
Edmund Kean was a strolling player.
John Mccullough was q brieklayer Of lin
ited learning and Lawrence Barrett began |
life as n bootblaek. but became n most |
thoroughly educated and polished gentle
man. Therefore. | would not bar any de- !
serving beginner because of his lack Of |
education. which the university should be |
prepared to supply, even to the three |
RS
##*
While, as have said. the Dramatic
University should be prepared to teach
even reading. writing. and arithmetic. its |
chief aim Should be to teach the art OF |
acting. ne pupils should be taught not
only acting itself. but all that pertains
thereto. They should study the general |
history of TIE stage; the history of the |
drama. the biographies of famous or
epoch making actors. and the great plays |
of all ages. The library of the institution |
should be developed on the lines of the |
general bibliography Of aesthetics. so that |
the studcn, shall be made to understand |
that his Occupation is an art-not merely |
a profession-and ;hat. as an artist. he /
should not do any inartistlc thing how
ever small.
For instance. a library of costume
plates would teach him better than. to
wear sixteenth century swori in four
tecnth century play. The average actor
is Obliged to accept the costumer's idea
of such matters. since he has not time to
look things up and declare what is right. |
THE pupils should learn elocution.
fencing. danring-iu fact, everything that
thoroughly trained, all-round actors ought
to know before taking positions OF re
sponsibility upon the stage. They should
have practical lessons in facial makeup.
light, and color effects. and should know
how these effects are produced.
ut is q matter of false pride with some
players that they do net know a scene
brace from bunch Of light but the
player who takes pride in his art should
know all the details-how the proper
ties and general accessories are made
and used; how scenery is painted and
constructed: the working Of the mechan-
ical effects aud the entire world Of stage
cTaft-not because he expects to paint
scenery or make props but because
these are component parts OF the stage
pictures to which he is expected to lend
life and Worthy In the course of the play.
The principal lecture room of the uni
vcrsity should be q theatre, complete in
every detail where performances-priVate
for the most part-would be given con-
tir1ally. For acting is on applied art. ard
nothing but Practical experience will ever
develop dramatic talent, no matter how
great. Here the clocstion teacher could
his theories by practical
tests OF how 10 breathe. how TO use the
vGiee, and how 10 onunciate. 50 that every
word reaches the uttermcst part Of the
auditorium.
"The pupils. alternately players and
spectators. would be their own severest
critics. and learn as much from observa
iton as from practice. So on throughout
the whole realm behind the scenes. The
stage carpenter would be- so 20 speak.
professor OF stage carpentry, for all his
assistants would he students. So with the
departments of lights. costumes, scenery.
etc.
"Such . system Of training would. be-
lleve. net only increase the respect of the
player for his art, which is tie first step
toward making It generally respected, but
Wuald elevate the standard OF qualifiCa-
liens for a stage career, and slowly but
surely elevate the public taste in dramatic
ma tiers.
II DO not consider that the stage needs
my apolOEist or defender. Actors have
achieved much since the days when they
we're. in the eyes of the English law, mere
itroilers and vagahonds. What the
lramatic profession needs as spur to
;till further advancement is recognition.
rhis is achieved in England and European
Countries by the bestowai of decorations
lr ltnighthood. In this country. where
,nly diplomas are for learning, the only
iegrecs for excellence in some art or |
science, the mere placing OF what is now
he profession OF acting upon an artistic
nd achnl.. IL Laa-. Lnmll increase the | .