The Jennings daily record., 1902-02-17


room OF that Institution. Purina Mills,
"where Purity is Paramount" are Famous
for the Manufacture Of Ralston . Purina
Cereals.
''The question has already
been asked me with regard to
matters Connected with the stag
(and 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 Idealism or
that of Realism. IdealiSm ap-
peals to the imnlAginatlon alone,
but in the new school every thing
must be as it is in real life-for
ms stance, 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 a ship. live had real
fire the smoke might annoy the
audience.
rhe school Of realism holds
that if we have the part of a cook
to play on the stage we must get
a real cook to play tiff King
Lear is played We must have a
real crazy man to play Lear. That
is all a mistake.
"Pcople ask me why do pot
have a 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
tieman in the gallery should
whistle 10 The dog Oh the stage
"I'hen every one has his or her
own ideal of the true dog that be-
longs to Rip Van Wrinkle, and if l
should take a real dog on the
stage some one would be sure to
say: %, l thought Rip Van Win
k!e'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 ii is to present realism
on the stage.
"'No, it must be art that looks
like nature. Nature is cold and
bald ii presented truly.
"Whis tier was one day stroll
ing along the Thames. and was
delighted with the landscape.
Very i%ely,' said he, nature
will come up to art some time or
another
at 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. The artist simply moves
the telegraph pole out of The way
in his picture, SO as to assist ma
ture Il little.
81 have been askediwhether 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 act
from Mr.. Coquelin's standpoint.
'Now the real issue of this
controversy is not arbitrary. Ii
depends on the actor himself. II
he can make thepicture stronger
by feeling it then he should do
so, and vice versa.
He might feel his character
too strongly and thus make ii
guSh SO far that he would be led
into something Outre. Or 4 ma II
uuder emotion might speak 50
rapidly that th3 audience would
b. unable to understand him. All
| can say i--6ecp The heart war IN
and The mead cool. AS Shakes
pea. says, 'Let the whirlwind of
your passion Ueset Il temperance
that shall give IL snuO thnesS.
Il am asked to give the secret
JI lIe vI5or which has enabled
NE 90 rcandin So long on the
otas-t.
IL IS largely good fortune, but
s. lar as 1 eau nane other ele-
:EeALs which have Contributed 70
U..a reaut', they are SenslOliiJy,
iuI:.5i iuaLlJu ANA Industry.
VI hat was me nappiest
moment OF yOur nte?' Wen, If l
we're like the actor when he is
ctiieu before the curtain [ would
have to say tAat this was the
nappiest moment OF my lie, as l
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,
| ShOuld SLY Ii WIS my marrlago.