The sun., 1901-05-12
IF YOU ARE STAGESTRUCK;
10, NAY AT LEAST FIND 0tT III foU
NAVE REASON TO HOPE.
Rst rou should Cultivate Your Talent and Not
Tour Self Esteem -Disreputs That Some
Actresses Bring on Otheu-Expcrts on
Dramatic schools and Actual Service.

Dramatic schools and Actual service
An article In the London Theatre felicitates
the American stage upon the revival within
recent years OF the old system OF resident
stock companies on the ground that they
give training TO young actors Tho facts DO
not Justify that assertion II Is true, OF
course. that much hard work has to be done
In these cut-rats houses with their weekly
changes OF bill. and that the succession OF
roles civea abundant variety OF practice.
But there Ia too much hurry-scurry 20 permit
4 Of training In the meaning OF the word as the
London writer uses II. These companies are
made IN largely OF men and women whose
methods are already unalterable. They are
chosen with especial reference TO quick
studv" in order that they shall be able 10 mem
orize q character each week while performing
another and spending about ten hours DAY
In the theatre In some cases the leadins
motor or actress is relatively new 20 the stage
develops rapidly into positive value. but as
rule, especially out Of New York. he or she
IL past the tuition period The minor mem
hers are likeliest to get something like school,
ing out Of tho srduous experience. So au-
thoritative a man as Sir Henry Irving lately
derided the common belief that. back In the
pnlmy days. the local companies OF his country
athsr gave ins performances or we're very
conducive to tho disclosure OF talent That
was in line with what Sir Henry said
on tho same subject casually to the writer
whom here last winter. He was speaking OF
Chlrlottc Cushlnan.
she was n kindly woman, he remarked.
-and the first person whom ] remember as
having tried 10 put good ideas into my mead
when was tyro at acting She was MAKING
a tour Of England. and as the juvenile man IN
q provincial stock company l was cast ior
Bsr,ram when she played Meg Merr'tes. ~
vas in the business Of my part TO take coin
from my pocket and give 1t TO her At re-
hearsal l did IL mechanically. Young
man she said. in her deep voice. II you are
ever 70 be a good actor you must learn the
importance Of details Now. Bertrdm is dis
Inherited. He isn't handing out money
readily or recklessly Yet you thrust your
hand into seemingly well-llled pocket, non
chalantiy pull out silver piece which might,
for all you care. be gold crown as well as a
silver shilling and almost dsdainfully toss II
into the gypsy's palm, Instead, you should
feel around in your pocket, as though coins
were none too plenty there, extract several,
look them over in your hand, pick out
the right one, and pay II out as
though you felt its value 10 you That bit of
schooling from Miss Cushman was more than
all had received from our stage manager In
the months had been under his direction.
and it started me in a right direction. Those
oldfashioned stock companies gave novices
the possible chance TO work their own way
into proficiency. but they we're in no other way
educational. That was a makeshift time
In the drama.
To those who are stagestruck II may Be
said that the born gift Of making believe
should not be overlooked in sizing up per-
sons suitability for the actors calling The
dramatic aspirant should first fnd out II he
possesses that natural talent OF mimicry.
Of seeming to feel az he does not Lacking
the inherent and not-to-be acquired ability
to impress himself upon others. TO engross
them In the subject he tries 20 Illustrate, n
impersonate clearly 70 them the individuals
OF his anecdote 10 send it through their eyes
and ears into their hearts and souls. he need
not hope to ever become better than an ordi-
nary player no matter how well he may be
equipped In voice and appearance. or all
who desire 70 become actors. scarcely one
in twenty possesses the natural qualifications
20 warrant a hope Of success in any degree.
The supply Of mere mediocrty on the stage
ia so much in excess Of the demand and the
DrODaDllltN OIL nlSIlnfllOn - 20 remote l0HL
conscientious theatrical managers are re-
luctant 20 encourage even those aspirants
who are outf1tted with voices faces and
figures good enough for dramatic purposes.
As those physical advantages do not always.
with the best use that their owner can learn
to make of them. enable him to become more
than a commonplace performer, II IL no won
der that stage experts usually refrain from
IL m prnban,litv Of fap,a tn
men and women who. perhaps. mistake n
desire TO act for the ability 70 do IT,
But q writer in ErcrybodU's MG0asir. takes
another view Of the subject. Most Of us
have TO earn living" he SAYS, and the
choice Of work is not so much a question ~
fame by and by "a Of bread and butter right
IN. We might starve, or become aimless
idlers according 10 our circumstances, II
we waited 10 find a way 10 sure success. More
than a thousand persons have written 70 me
within the past two years asking how 20 go
on the stage have not felt like telling all
Of tham not n try. have instead advised
many 10 go 10 tho travelling and resident
managers. especially those with companies
OF moderate merit and scant prosperity.
and offer themselves for inspection, Pos-
SCISSORS OF good looks and the crudest ahili-
ties will. II persistent secure trial. 10 not
much remuneration But II they find that
no expert is tavorably impressed. they should
he convinced that they are mistaken about
Themselves"
Young men and women who. In spite ~ oil
counter con siderationa determine TO get on the
stage. usually hesita to how 20 attempt II Shall
they take a course in q dramatic school, or go
at once into theatrical services aS super
numeraries2 The writer In ErerybS dJs MOC-
ds,ns does not answer the question, but
gives some interestingly conflicting quota
tions from managers and actors Charles
Frohman favored the schools They are tho
theatrical managers Intelligence Offices" no
said. when he is in need Of new motors he
applies at the schools. and gets those 20 choose
from who have been trained and tried out hy
their teachers, and whose values ~ TO histr-
onic qualities have been nscertnlned As 10
his preference for graduates Of dramatic
schools or wholly stage-trlinod actors It Is no'
q question Of methods but of material lie
does not concern himself n 10 what has
brought about the result but only about tho
result itself
Daniel Frohman said that he regarded tho
school-trained actOr - 81 much better fort-
ned In the technique Of the stage than the
ordinary beginner that his progress should ho
more rapid old actors he rra oned, are
wont to say that the stage itself il the best
training school But the whole system Of
theatrical management and stage custom
has changed While there used u be fine art
arong the principals, there Ha~ less car" in