The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-03-31
Advice from Annie Russell.

At the commencement celebration of the
American Academy of Dramatic Arts. New
York, last week, Miss Annie Russell made
the following speech TO the graduating
class:
Il have been asked 10 make my talk to
you as much as possible along the lines of
my own experience and ideals. Acting is
so much a part OF the individual that IL is
dif1cult 10 speak of ones achievements in
an impersonal way. This necessary element
or personality In our art is not sufficient
reason for vulgar egotism or pompous per-
sonaI boasting. and should be recognized
as one of the dangers 10 be carefully guard
ed against until. as a class. we are better
understood. That time is coming in leaps
and bounds. II is no longer a remarkable
thing that actors and actresses dress, talk
and behave like ladies and gentlemen on
anc on the stage; sometimes they feel
themselves even superior by reason of tall
ent added to good manners A story of one
OF our well-known and well-liked actors
illustrates this. He was dining at a fash
ionable house noted for smartness rather
than intellectually. The hostess. in a burst
of enthusiasm. said to him: oh. Mr.. So
and SO. you don't seem at all like an actor,
but just like one of our own men, Quickly
glancfng around the table he replied: Good
Lord. which!
"Of course, prejudice and misunderstand-
ing against the stage still exist in a meas
ure. and the reasons for them likewise. and
/ make a special plea TO those of YOU who
are adopting the stage as a profession to
uIA0iA ~ hASnAtN III every DOSSlDle QlTRc-
ton. personally. remembering that our ac-
lions are judged by a totally different view
point from any other class. Girls who in
private life may be as innocent a madcap
as they and their friends delight I'm. would
fnd a different Interpretation of their ac-
tons were they actresses. The greatest cir
cur spectiOn Is necessary at all times. Be
ginners IN any OF the artistic professions
invariably adopt extreme mannerisms. An
art student Will wear fearfully and wonder
fully artistic clothes. and rather wonder if
Mr. Painter with a. chest full Of 1nnnro-
tiOns and worldwide reputation. isn't lack
ing In true artistic feeling because he wears
such correct conventional clothes. Young
actors adopt the extreme in fashions and a
self-conscious air Of-well. whatever line of
work he feels drawn toward. Some men
wear an air OF gay and fascinating Swag-
ger, others OF romantic absorption. The
wO-ren. too, are inclined to acting off the
stage. but good sense and good taste will
guide US all 10 simplicity and a rational
W all know that notoriety is not
nOtability. though there are some people.
not OF our kind. who confuse the terms. I
had a letter from the West the other day
which said: Dear Miss RUSSELL am maxi
Ing a collection Of photographs and auto
graphs OF notorious actresses and should
like TO have yours. There is one real dam
ger TO character. however, In our profess
sion. and 1t lies I'm our eagerness for emo
tfonal experiences. which We imagine will
help US IN our portrayal. IL we are not
content TO wait until they come into our
lives. as they inevitably will. we risk falling
into a habit of emotional ex~aggeration. at
fectatiOn and insincertty that come up like
rank weeds. choking the truer growth and
making of us creatures Of temperament
without mind
tional i~ntOxicatiOn that | could make il
largely the subject of my discourse. but 1t
must suffice that ! sound the warning. and.
besides. you viii fully realize my meaning
when YOU are students I'm the school of ex-
perience. II were better-far better and
more prOftabletc divert the channel of
- ~fAafAw 80 -A--tAa -
lating knowledge of the various arts. since
every added accomplishment is OF use in
our professional work. Mr.. Sothern told
me a story of Mr.. Mansfield which goes 20
prove this. They were both. as young
men. in the beginning or their careers. play
ing subordinate parts I'm the same company
IN England. A piece was put on in which
the comedian OF the company, a noted &C
tor. was given a very unimpoTtant role.
This he played with little interest during
the provincial tour. finally notifying the
management that he could not AFFORD to
lower his standing by appearing in IL be
fore a London audience. Mr.. Mansfield
begged to be allowed 10 do the part. with
the privilege Of celebrating il. This was
agreed. He added a song. inserted a witty
line here and there. played various musical
instruments. used a delightful dialect. and
when the play was given in London he
became one OF its chief successes and start
ed fairly on his career.
BE natural, be human. play within the
limitations or your part. do not try TO show
that you can play tragedy in a role that
calls only for pathos. or that you possess
great emotianal power if the emotion OF
your part touches only a minor chord.
Study IL all out In careful detail: try every
infection OF every spoken line to see IL IL
rings true: don't let one word OF IL be ur-
satisfactory 20 your own ear: work for
its true meaning. as Sentimental Tommy
worked for his right word. And here again
comes the personal element In our art. Were
i 10 give as perfect an representation IN
acting as the painter did on his canvas
OF the sweet young woman with no strik-
ing characteristics. and some one said. ooh.
she IS that character she Is playing her
self and within her own limitations
should have 10 accept IL as a tribute 10
my art which enabled me 10 create Just the
illusion I desired. There might be as little
likeness 10 me. mentally and tempera-
mentally. as TO the painter. And as TO the
PAINTER. IN the one case. the painter would
get credit for his art. the actress for art
iessness. and though We are all born in
gent1pus. ingenious is hard 10 achieve.
But, whether we receive full credit for
our efforts or not. keep steadily at work