The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-01-26
STAGE WOMEN ARE OFTEN SAD
A CHEERFTiL FACE RARE EVEN
~ THE GREAT STARS.
Restrictions is The Calling rms Appar-
entity Offset Unquslinei success
Evidences OF This Furnished 10y
tho PortrAIIs OF Naied ArlIsies.

from the South and the West, leaving COM
Portable and In some cases luxurious homes
In order to pursue the active study of their
chosen work in the cramped and cold, poorly
furnished rooms OF the big studio build
ings, in clearinghouse rooms and CO.
operative flats where they make their homes
and yet they seem perfectly happy In the
idea that they are at last really In the cur
rent OF professional life.
There is no use in trying to discourage
these earnest girls by pointing out the dan
gers. pitfalls. struggles and hardships that
may be theirs IN the attainment OF ayen
the most moderate independence. They
keep on with a beautiful steadfastness,
idealizing the dreariness Of their surround
ings and the sometimes painful scrimping
to make ends meet IN their embryo house
Directly In the wake OF Madame Calves
recent protest against the requirements
of her profession which she said cut off
all her personal liberty of action, II Is in
teresting to note the utterance of two other
women, both famous on the Paris stage,
Madame Adeline Dudlay OF the Coincide
FRANCHISE declares that if she had her career
TO choose over again she would still select
daughter she would do all in her power
to deter her from a similar career.
NO other profession" say Madame
Dudlay, gives a woman so little indepen-
dence and with the exception of star very
few women OF the stage earn enough q
keep themselves. The cost of gowns alone
II enormous In these DAYS of expensive
stage dressing and the strain on nerves
and vitality il such that very few attain
any position without broken health, which,
of course, is not heralded abroad"
Mile. Marni, another clever Frenchwoman
who has recently deserted the stage for
literature. says that she believes marriage
20 be the best career for women. Mar
rage first, =" she says. "and then II the bent
for the stage or for literature remains strong
the fact that the woman has fulfilled her
natural destiny will not exclude art from
her life"
II Is a fact, noted more Of late than in
former years, that the greatest success
which may come 10 women on the stage
Is not fraught with apparent happiness.
The extreme sadness that has marked the
life Of the Italian actress Madame Duse.
h known, for she has made no secret of her
sorrow. She has been quoted as saying
recently that the only a with life Is that
IL II too long.
Madame Bernhardt, like Madame Patti,
has cultivated an atmosphere of cheerful
ness. Rut both of these women. il may
be borne in mind, have obtained unique
positions, not gaining wealth alone but a
power and popularity that have made
a difference to their whims and caprices
the price of obtaining their appearance,
And ever then IL has been often asserted
" w u MI" ooAh Nilt|' hIlt
best that the much vaunted happiness Of
each, Is In its way a little pose for the out
side world.
Whether the present attitude of sadness
| and discomfort in other women who are now
prominently before the public may be also
a pose il a question, but II Is a fact that n
glance over a collection OF notable women
OF the stage to-day, will not show a group
OF smiling co~untenances. The smile has
gone out OF fashion and painfully drawn
mouths, wunkled brows and troubles eyes
seem to be the substitute.
The British actress. Mrs. Campbell. pos
sesses a face melancholy as buses own,
and with the same deep inscrutable Italian
eyes. Annie Russelrs face Is rarely seen
pictured in a smile. Julia Arthur's most
recent professional photographs suggested
a spirit at war with the world, Mr.. Fiske's
photographs show n look OF poignant suffer-
ing in some of her roles, and even Julia
Siarlowe frowns petulantly at her adj
mirers from her photographs.
Georgia Cayvan gave evidence Of her
troubled state Of mind in all her late pic
tures. Ada Rehan's face took on a tragic
look; and 40 on through the list Of popular
actresses, sorrow seems to be the usual
portion.
when spoken 10 on the subject, ~ that
| there can hardly be an outward expression
~ happiness on the face Of those whose life
becomes a constant struggle after something
better and In advance ~ present achieve
/, ments. The sclf-satisfed actor. man or
woman. II retrograding. There must be
discomfort with ones self II there IL an
EARNEST effort toward perfection. There
j. a constant strife for better understand
ing of great authors moAnings and motives.
There j. alsO constant study and t4o face
Of a student h not a face 81 smiles la any
profession.
sOnen a woman actor has a ,empers-
msnt To contend with which h. AZ utter
y~afianos with the conditions under shirh
she u foroed 10 live She may, ike C4lve
ts intensely domestic, fond 81 home Juys
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