The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-08-16
Unwilling ImitatOTS.
Actors Who Catch UnCon-
sciouslu the Tricks of
Their InStTuCtOTS-The De
merit of MimetiCS.

Apparently possessing in the first place
merely the faculty for imitation, they
have through it ultimately become con-
scious of hitherto latent ability 10 ere
ate along serious lines effects of express
sion which previously had been far be-
yond their ambition or hope.
II is a matter OF common occurrence
for an actor or an actress who follows
the creator of a certain role to take on
some of the peculiarities of the voice
and manner of their predecessors, though
they are doubtless making every effort
to depart as far as possible from the in
dividuality of the actors whom they have
succeeded. This is undoubtedly due TO
the inherent power of imbibing quite IN
consciously the personal characteristics
of another NEUTRALITY-SUSPICIOUS. the person
proper or some impersonation. Associa-
ton frequently produces similar results.
Absorb Mr.. Irving.
Take, for example, the actors who have
associated with Sir Henry Irving. The
instances are innumerable where they
have acquired the popularity of intona-
ton and distinctive stride of the great
English actor in so striking a degree
that they have been accused-quite un-
Justly often-of initiating him.
This is doubtless an instance of the
natural absorption of weaker from a
stronger individuality. The history OF
the stage has innumerable instances of
actors and actresses who, beginning
their careers as mere entertainers. with
mimicry as the fundamental and most
important quality of their ability, have
ultimately become conscious OF power
to create. as well as initiate.
Nat Goodwin is curious type of such
an experience. Beginning his career in
variety, now termed vaudeville, Mr..
Goodwin, through the fidelity of his imi-
tations, in the course of time became
conscious of his own latent powers. and
gradually developed his ability TO in
terpret characters based purely on his
own faculty for Characterization.
Cecilia LOTUS. now leading woman
with E. H. Sothern, is another striking
example. Through her limitations of
famous actresses in certain roles she Ill
timately discovered her ability to create
characters, impressing upon them the
charm of her own personality.
Sadie Martinot's Story.
Sadie Martinez relates a number OF
very interesting experience in her own
career which show the peculiar develop
ing effect of this mimetic quality. Her
career as an actress probably embraces
as wide a range as that of any other
II h.
She began when little more than a
child as dancer and singer on the va
riety stage. She subsequently filed a
long term of experience in that great
school for actors, the famous Boston
Museum. She next entered the field of
comic opera, creating in this country the
role of Nanon in the opera of that name
at the New York Casino. Subsequently
she enjoyed the distinction of playing a
star engagement in German as Bettina
IN THE Mascot" at the Irving Place
Theater, though she was quite unfamil-
lar with the language in a conversation
al sense. From comic opera 10 light
comedy was her next step. which was
followed by her entrance into the field
of strong emotional roles, with which
in which line Of work she will star the
coming season
"Aida's" Influence.
Il never realized that had a singing
voice suitable for operate work. said
Miss Martinez, until l happened on one
occasion TO see the opera Of Aida The
music and the characters made an ex-
traordinary impression on me, and
quite uneonsciously discovered that
could initiate the singing of almost every
important character in the opera.
Il realized that It would be quite a
physical imDossibility for me TO sing
any of these roles in a performance. but
it proved to me, however, that ! had a
singing voice, and l Immediately began
the study of music seriously in order to
enter the field of comic opera-comiC
opera in those days being quite a diff
ferent affair from the productions o.
today which are styled in that manner
A New Tree of knowledge.
"A still more curious experience was
my engagement with the Henry Miller
company IN San Francisco a few years
ago. l was engaged 10 play the stronl
and more serious roles in a repertoire
that was changed from week to week
had not had much experience in thii
kind OF work, but l thought 1 was quail
fed TO make the venture.
THE serious character OF my task did
not appeal 10 me thoroughly until th'
production OF The Tree OF knowledge
was announced, and in which I was u
play the part OF the adventures. TIL
company included E. ]. Morgan. VIII
had an especially good opportunity Il
show his fine quality as an actor IN thl
play. ] played the opposite part to him
Discouraged and Revived.
''You will doubtless recall that the ad
ventures has tremendously stron
scene in the fourth act. During tn
rehearsals discovered that il was quit
an impossibility for me 10 get the de
sired effect. Mr.. Morgan. who was 4
the cast OF the play during its origina
run in New York, was very kind an