New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-05-13
LONDON DRAMA.
Mr. Trees Nezc School of Acting
Stage Reforms Needed.
London. April ~.

Art and to interest n large audience of actors,
playWrights and critics in his scheme for train
ing men and women for the stage. He has not
neglected the smallest detail. for the the
atrical black cat exhibited at the close of
the ceremonies at His Majesty's Theatre this
week. and the right people were the stage
with him to offer congratulations. especially Mir.
John Hare, Mr. Comyns Carr and Sir Squire
Bancroft: and his own speech I'm explaining the
objects and methods of the new enterprise was
modest. tactful and sensible. He had a bundle
of interesting dispatches and letters of SYM
pathy to read to enthusiastic audience and
he had a series of promising announcements to
make. Sir Henry Irving had sent his warnest
good wishes. and the Kendals had united in an
encouraging message; NJ. Coquelin Miss Ellen
Terry. Nine. Bernhard and Mr. Arthur Pinero
had written characteristic letters; NJ. Jules
Claretie of the Coincide FRANCHISE had i'm
parted fresh significance to the entente cordiale
between England and France by most SYM
pathetic communication and thrty-two prom
inent actors and playwrights had pledged their
services as visitors and patrons of the school.
Two prizes had been offered and the first book
presented to the library There was only one
discordant nOte-a frank expression of disap-
prevail from Mr. Wilson Barrett and this was
qualified by an offer TO pay fees for three
scholars who could not afford to do it them
selves. Mr.. John Hare confessed that he had
advocated throughout his life the establishment
of a state theatre, with a conservatoire at
tached to It, but he declared that Mr. Trees
scheme was less chinerlcaI and the best alterna-
tive for IT. Mr.. Comyns Carr ornamented the
promising undertaking with paradoxes and ex-
planned that the main function OF the school
would be to enable mediocrity to comport itself
with some thing like decency on the stage. and to
arm audiences with authority 70 tell mana gers
that they no longer desired the presence Of in
eptitude. Mr., Trees own speech was followed
most alphabetically. and the academy was
opened with hearty expressions Of approval and
interest.
Mr.. Tree emphatically disclairned any inten-
ton Of Identifying the school with his own the
atre. He expressed the hope that the institu-
ton would speedily be placed a self-suppOrt-
Ing basis. with a home Of its own and that
eventually n charter would be obtained for IT,
and that it would become the foundation Of a
national theatre Meanwhile. he had arranged
the courses and engaged the instructors. and al
though 20 per cent Of the applicants had been
rejected at the opening examinations, there
were as many students could be accommo-
dated. He announced that there would be three
terms Of eleven weeks that certificates of merit
would be awarded to successful students. and
that there would be at least one public per-
Torrance every year There would be classes IN
elocution. fencing, dancing, department. panto-
mime and gesture, and there would be sys-
tematic training in the rehearsal of plays
Among the instructors in elocuticn and gesture
were Mr.. Hermann Vein. Mr.. Ohlsen. Nj J. H. !
Barnes. Mrs. Grove and Miss RosIua Billppi;
NJ. Bertrand and NJ. d'Egviue would have
charge Of classes in fencing and dancing. and
the fascinating art Of pantomime would he
taught by Nine. Cavalazzi and possibly by Mr.
Martinetu The students would attend re-
hearsals three days every week, with constant
Interchange OF parts. and special rehearsals
would be conducted by the playwrights and !
actors who had agreed 10 act as regular visitors
There would be lectures on the scope and theory /
OF the drama, but the system Of instruction was |
to be made as simple and practical as possible /
Mr. Tree did not claim originality for a scheme !
which closely modelled after the courses at |
the Conservatore in Paris. He gave plain ac- |
count OF system OF training which would de- |
veop individual talent without working the |
miracle Of creating natural aptitude for acting |
much less heaven-sent genius for the stage !
When he had finished his excellent address only !
surly and obstinate critics We're prepared to con-
test his claim that a school conducted on ac- |
cepted French principles would be most useful |
IN raising the standards OF acting on the Eng |
lish stage.
There has been at least one school OF acting In |
England during the last thirty years. Sir Henry |
Irving. apart from his unique services I'm ele-
the actors calling. has trained hundreds Of men
and women in rehearsals and has left his indi-
vdual impress upon their methods Praise
worthy work has also been done by Mr. Benson
in the provinces. where he has taught his COM
panies how to speak Shakespearian blank verse
clearly and melodiousy. ana has inspired among
them genuine enthusiasm for acting in the man
nor Of bygone days. II is a great gain TO have
from Mr. Tree the admission that the grand old
manner, even when overdone is an error on the
right side. and better than little modern man
1erisms." The little mannerisIns have been
signs OF an unframed stage. where amateurs
have never been taught to stand or 10 walk and
have become professionals without knowing how
TO use their voices, hands and faces. In France |
where all the great actors, except Jane Hading
and Antoine, have served their apprenticeship In
the Conservative, the art Of expression by
hands body, face and voice is mastered as a
matter Of course even by performers in minor |
parts. In England individuality has been con-
sidered sacrosanct even when it was incapable
OF making Itself audible five yards beyond the !
footlighta and guilty of violating the Oldest |
traditions and commonest principles Of acting |
The so-called actress Of temperament has been |
applauded by critics and audiences when she
was unable to stand or walk erect on the stage.
and that is perhaps the first thing taught at the
Paris Conservatoire. The Sinking actresses |
who never take the trouble to look at ANYBODY |
on the stage, and are rs helpless in gesture as
they are ignorant OF the resources of facial ex-
preston. are credited with having something
more subtle and attractive than power or train
the Incompatible gift of charm!
Earnestness has come to be regarded as an old
fashioned stage trick. and actors admired il
sn IL