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

1T Is not often that Miss Viola Al
len has consented to be inter-
viewed. When she has had any
thing to say it has usually been
under her signature in one or the other
of the magazines. In point of fact,
which is an anomaly in an actress,
Miss Allen has rather Stunned than
sought publicity, COntending that away
from the theatre she was entitled to
the same retirement and repOse that
on-professionals enjoy. To secure
Miss Aliens consent to an interview
was. therefore an unusual pleasure.
There is not another actress on the
stage today who IS more beloved than
this charming voman and cultured
artist. There is not another actress,
either who is better qualified TO speak
on matters pertaining TO the stage,
since during Miss Aliens dramatic ca
reer she has. herself been instructed
by and played with such masters as the
elder Salvini, William 7. Sheridan,
Lawrence Parret. William !. Florence,
and Joseph jefferson. 1t was for that
reason that The Herald sought 10 gain
4lFA fHNNo VA pa anu pay a . VI ~
day.
III is asserted from time to time"
said Miss Allen. that the art of act
ing has degenerated; that the perfors-
CT ct today is in no wise the equal of
the enc of yesterday It is. of course,
a very difficult matter to determine the
truth o. falsity of this oft-repeated
assertion. since styles of acting as do
manners and customs of the times,
change, and that while the actor who
a generation ago was considered su-
pTene, if he could be seen now might
appear, possibly. rather an extraVagant
performer. Our grandfatherS might
have seen better acting than we do
now. and as true to nature; yet we
have no way of discovering the fact
II has been asserted. however. that it
is well for the regulations Of the old
actors-those who made great names
for themselves in the past-that their
art died with them. and that they are
unable to come into competition with
The best of modern players. 1t Is just
Is well. then. I suppose. that we should
not pity the actor for the effervescence
Of his achievement; that his art does
not live as the authors On the printed
page, or as the artists on Well-nigh
imperishabIe canvas.
zone cannot withhold the thought,
however. when reading the criticisms
of Leigh Hunt. William Hazlett ana
George Henry Lewes, that the old
time performers possessed an art
which the ThgSpiau Of today is allow
ing to fall into disuse. 1t is the opin-
ION Of some, and there MAY be truth in
it. that the present Overweening atten-
ton to scenery and costumes has
caused us 10 overlook the most import
ant coucomitaut Of a finished perform
anCe. art and nature in our acting. IN
The old times, as all students of the
stage are aware, very little attention
was given tn the scenery. but most OF
ell to elOcutiOu and the art histriOnic.
1t was no unusual thing when a scene
was supposed. 10 be laid in a wood, for
the curtain tn rise upon bare wall
upon which was. hung a sign: This is
a wood" or, This is a palace" It
was left to the actor and his art to
complete the scene. If Il is. then, that
the art of acting has really degener-
ated. may the cause not be laid to the
too large attention to the necessaTies
of the stage, and too little 10 the art
of acting7 Are we training up skilled
carpenters and scene painters at the
expense of the Thespian2
1T has been asked. Is there now an
lllEuUltltLE appreciation Oh STAKE man
agealent and whether or no the actor
engages in as close a study Of his
role as was the custom I'm former
times? It would appear to me that
what every welf-prganized company
needs, and what several have. is an
overseer as well as stage manager. The
stage manager Is as necessary as the
stage carpenter. 1t is his duty to see
that the curtain is rung up at
the correct time; that the stage
is properly set, and that there
be quiet behind the scenes. ct Get
era What is needed in addition
is. that somebody give attention TO The
performance itself. and not concern
himself with the mere details of the
management behind the scenes. Such
? stage managers place should be in
re audience, where he should sit
nightly and closely observe the play
watching atJentively for mjsprOnuncia-
tons, faulty and Intellectual accentua-
tons, and any laxities that might
creep into the business" Of the drama
1T is rather Earring to the artistic
car to hear words in a play pronounced
in two or three different ways by the
performers The stage, then, ike a
newspaper office. needs a style card
Such Inconsistencies could not occur
with proper stage management. with
an observer in the audience acquainted
with the rules of grammar, and with a
cultured ear as 10 pronunciation. He
would quickly detect any little colo
Qualisms OF other cOrTuptions which
might creep into the text. If the actor
knew that he was being watched from
the front. ana would be brought tC
book for any laxity in his delivery OF
action, there would be a closer and
finer attention to detail.
An great actors had great models
just as The great artists have had yet