New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-05-13

that they can act, when I'm reality they are COM
pletely untitled for stage work. Students are
not to be admitted TO the school until their
voices are tested and there is prima facie evil
dence of ability and promise, and they are not to
be allowed 10 remain in the classes unless there
are signs of Improvement and development Of
their powers Mr. Tree. If he does nothing more.
viii render a signal service To the stage If he
succeeds in obstructing the ambitions OF as
pirants who can never rise above mediocrity in
the profession. on this ground the enlargement
OF the school and even it's endowment by State
or municipality can readily be justified. With
out doubt the Conservatoire in Paris has kept
off the stage hundreds OF amateurs, who were
without reasonable expectation Of ever doing
good work there Their failures In preliminary
examinations and in class work and their en-
forced retirement from the training school suf-
feed to convince them that they were not
equipped for success, and they have not wasted
their time In futile efforts. VI. Coqueln. 10 be
sure. failed TO enter the Conservatoire when he
first applied for instruction; but he had the
patience and grit TO practice eocution by himself
and to overcome radical defects In his habits
Of speech Moreover he Coquelin, and
could not be kept back!
The stock idea that Individuality is indie
pendent of training and is likely to be impaired
and paralyzed by Il, is one of the explanations
and New-York. and to introduce practical sys-
tenn OF COnservatore courses in the art of act
ing individuality is not sacrificed when
painter IS thoroughly trained in the practice OF
his art under competent masters; nor will II be
when an actor, endowed with the incompatible
gift Of genius. learns the rudnents Of stage art.
Veteran first nishtcrs, who are called upon 10
witness many Of the plays. are tempted to
believe that the English stage would be i'm
mensely improved If less attention were paid to
individuality and temperament and there
revival Of the art of representation. Season
after season so strong and capable ar actor as
Mr.. Charles Wyndham IS seen virtually in the
same character under various names, and, while
his individuality is never Clouded. every tone OF
his voice is familiar and every gesture and pose
known in advance. This is n less digni1ed
accomplishment than the long series OF noble
and varied representations with which Sir Henry
Irving has enriched the modern stage. Mr.. Tree
himself has never made the mistake Of combining
himself to a restricted class of parts. but has
shown remarkable versatility in his stage work.
Mr. John Hare Miss Ellen Terry and Mrs Ken
dal have also displayed adaptabty in varying
their dramatic style and in changing their i'm
presentations Of character. Mr.. Bourchier has
been following the same line in his recent work
at the Garricll Theatre. and has greatly Inn
proved his reputation as an actor Mr. Cyril
Maude IS another conspicuous example OF the
advantages of old fashioned methods of i'm
personation of character Mr.. Tree by forcing
the students of his school TO rehearse in parts
widely differing I'm quality and range. will ac-
custom them 10 habits of hexlbiIity and will
help to enlarge the resources of the acting pro-
fession. L N. r.