The Jennings daily record., 1902-02-15

room Of that Institution. Purina Mills,
"where Purity is Paramount" are Famous
for the Manufacture Of Ra1ston Pu1ina
Cereals.
"The question has already
been asked me with regard to
matters connected with the sta sc
land l confess that [ know moth
ing of any matters not connected
with the stage which of the two
new schools Of acting in Paris l
hold with-that of ldealism or
that of Realism. Idealism ap-
peals to the immaginatlon alone,
but in the new school everything
must be as it is in real life-for
instance, real fire, real smoke,
etc.
"Now this is not possible. 1t
would not do to wreck real ship
in theatre in real water. No
theatre could hold enough water
to wreck ship. If we had real
fire the smoke might annoy the
audience.
The school Of realism holds
that if we have the part of a cook
to play on the stage we must get
real cook to play tiff King
Lear is played We must have a
real crazy man to play Lear. That
is all mistake.
"People ask me why 1 do not
have real dog in Rip Van Win
kle. What would a real dog be
like on the stage? Imagine a
real dog wagging his tale at the
wrong time! Think if some gen
tlcman in the gallery should
whistle TO the dog Oh the stage.
FI'hen every one has his orher
own ideal of the true dog that be-
longs to Rip Van Winkle, and if l
should take real dog on the
stage some one would be sure to
say: 90, l thought Rip Van Win
kte's dog was one of those long
bodied short legged dogs. An
other would want a Newfound-
land dog.
$50 you see how utterly i'm
possible it is to present realism
on the stage.
"No, it must be art that looks
like nature. Nature is cold and
bald ii presented truly.
"Whistler was one day stroll
ing along the Thames. and was
d delighted with the landscape.
Very Jitely,' said he, nature
will come up to art some time or
another.
'Jt does not do for the artist
to make his picture exactly true
TO nature. There may be a tele
graph pole in the middle Of the
road.-Ihe artist simply moves
the telegraph pole out of the way
in his picture, so as to assist ma
ture a little.
81 have been askedwhether an
actor should feel the part he pre-
sents. Two very distinguished
actors, Sir Henry Irving and Mr..
Coquelin, disagree on this point,
one holding that the actor should
feel the character intensely. and
the other that the part should be
acted entirely through the intel
lect rather than the immotions,
that he should not shed, for in
stance. real tears, Sir Henry
Irving, therefore, could not az t
from Mr.. Coquelin's S standpoint.
''Now the real issue of this
controversy is not arbitrary. Ii
depends on the actor himself. If
he can make the picture stronger
by feeling it then he should do
SO, and vice versa.
"He might feel his character
too strongly and thus make it
gush so far that he would be led
into something outre. Or Il ma II
under emotion might speak so
4 rapidly that th3 audience would
l can say i--seep the heart warm
and the head cool. AS Shakes
pea. says, 'Let the whirlWind of
y"2: passion oeSet d temperance
that shall give IL smOo Illness.
81 am asked to give the secret
u Tie vlgor which has enabled
NE ~ remain 50 long on the
sta.-e.
il IS largely good fortune, but
s. lar as can nam9 Other ele-
!neltS which have Contributed TO
Use resuty, they are SeuslOliiJy,
Ih4uSinaLlJn ana luu us Try.
w hat was me nappiest
moment OF your lite?' Wen, if l
were like the actor when he is
c,tited before the curtain [ would
have to say tnaG this was the
happiest moment OF my life, us
sat mere eating these, beautiful
foods. If he does not say 50 you
think he is not sincere, and if he
does say SO you know he is not
sincere. If my wife were here,
L should say it was my marriage.