The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1902-03-09

expected force. This skill is acquired
only at the expense of labOriOus days.
Qualities common to all great actors
are sincerity of purpose, reverence for
their calling and admiration for the
most gifted opponents. It was the act
ing of La Kafne that Talma eXtolled;
Sanson's boast was that he had dis
covered Rachel, whose genius had ex-
cited the admiration of SalYini, Art,
to the true artist, is not delusion but
illusion; not sentiment but execution:
the power of honest and accurate ex-
preston. To use moderation is not to
degenerate into tameness.
THE teacher who is profoundly
versed in the art of a great actor can
impart instructions to others that will
enable them to avoid the faults of in
experience and save them both time
and labor in frUitless experiments.
Leonardo da Vinci was of opinion that
the artist did better TO rely upon gen.
orally accepted deals in the study Of
his art than to satisfy himself with his
own conception. A painter, he says,
who has clumsy hands win paint SINH
lar hands i'm his work. unless long and
careful study of good models has
taught him to avoid doing so. Look
about you. said he, and take the best
part of many beautiful faces Of which
the beauty is confirmed rather by pub
lie fame than your own judgment For
if YOU should be ugly. you might Sc
4 Iect faces that are not beautiful. For
the student to neglect to study the art
of a great actor is to lose al right
standard of excellence. and when the
right standard of excellence is lost. it
( is not likely that much that is excel
/ lent will be produced. Acting does not
came by nature, and the very separa-
ton of art from nature evolves calcu-
IatiOn. Every detail is deliberative or
| has been deliberated. Accent, infiec-
| ton. locks-an have TO be reproduced
with the same exactness Of detail OF
al actors Edmund Kean was the most
inspired and yet HaZiett on witness
/ ing his second performance Of Rich
ard III wrote, We have little TO add
to orr former remarks for Mr.. Kean
went through his part nearly as be-
fore
ITO have good acting, then. we must
/ have good models and cultured stage
MANAGEMENT. When AUgustin DAILY
was alive. young actors and actresses
cared not for the amount of money
/ which they received while in his en-
ploy. What they desired was the ad-
/ vantage of his splendid stage manage
ment. The Young actors and actresses
( in his employ were taught TO act, the
art of elocution. proper carriage Of the
/ person and those other little illnesses
of the art histTiOnic.
IF we could have an endowed the
atre with such a teacher at its head,
/ il would be soon discovered that there
was plenty of latent talent that was
only in need of the fostering care OF
| a cultured teacher.
The costume plays now on the tor
wave Of prosperity in this country, IN
/ one respect, are q blessing for the &C
/ tor and a heavy burden on the man
/ aver. When under the regime Of a tea
/ cup. dress suit and drawing room
/ drama the actor. as has long been the
/ rule Of the stage. furnished his own
/ costumes. But it is different with The
plays which harken backward 10 the
/ days of the sword and buckler, picaroon
boots. trunks and tights for men, and
/ flowing robes of costly material, high
/ collars and fancy coats Of expensive
material FOR the women These the
manager must furnish out of his own
( pocket and they cost q pretty penny
/ to design land manufacture Such a
play. for akample. as Viola Aliens In
/ the Palacei OF the King cost fortune
to put upln the stage.
In the batter Of scenery, too the