New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-12-21
THE DRAMA.
Nine. Bernhardt at The Lyric.
OLA TOSCA.N

Mr. Sardous drama of La Tosca," which was
written for Nine Bernhard provides. in its cen
trail character a part that is harmonious with her
peculiar temperament and her brilliant executive
faculties, and in her performance OF 1t. she nrsI
presents an image of tantalizing coquetry' and
later creates a thrilling effect OF terror. Tne
coQuetry of Tosca is expended on her lover. Inc
terror incident to her conduct is impaired Wien
she stealthily obtains carving-knife ana rePels
the anorous' assaults of the libidinous miscreanI
Scarpia by plungng it into his heart. There is an
interlude, between these two extremes "ueh
Toscas lover is tortured with hideous cruelty IN
order to elicit from her,-ss she hears MS means
and shrieks of agony,the disclosure OF the hluInB
place of fugitive from Scarpia's malignant
tyranny: and, in this episode OF lurid brutal.
horrible pIay the actress has to express ever
Increasing access of agony, which at last becomes
deliriun. Mime Bernhardt's acting at all points OF
this frghtfu fabric of lust and slaughter Is mag
nifcent-for 1t creates perfect Illusion ana thlS
would not ensue, unless the several sltuauons "eo
made to seem actual by exact stimulation or teeI4ns
end exercise of the power OF imagination. ana IN
less the personality of the heroine were mace 10
seem actual by consummate art. Inc seems VI
Toscas arrangement of the corpse or ScaTplan aIeF
she has killed him. as illumined by Nine Bern
hardt will be remembered. with shuddering sense
of horror as long as anything is remembered OF
this actors achievement. It is art expended on
low theme. but it is perfect art OF its klno-
The instructive impulse of personal expression
much more than desire to interpret Lne I'll
conceptions of other minds is the force that ofiVe'
an artistic nature to the outlet OF the stage anu
OF all the hundreds of parts that exist In draauc
literature, to engage the attention ana elicit the
endeavor of such a nature, there are few so hlgh
in majesty and so broad in scope that they cir
curnscribe an actors personality. and fmperlously
and finally ordan the limit Of interpretative action
shakespeare's King Lear seems to be unattalnaoie
in full: and any actor might well be content 10
struggle toward that wandering light Of shattered
vet supernal dominion, and lose himself IN the
vastness of his own endeavor. Not SO with the
more comprehensive dramatic ideals, and espe-
ciaIlv not SO with those that are fernale;-tnese
being seldom of transcendent greatness. II 1t were
not for the spirit that the actor is someunes aoie
to Hberate into of these fabrics, they "oulo
signify little or nothing. The artistic need' lnele
fore no less than the original propuIsVe Ioiee
of acting is a rich, vital, exuberant dramatic per-
sonalty This. in an exceptional degree Is pos
sessed by Nine. Bernhardt. and this 1t IS that
enables her to redeem such an atroctous play as
1.-THE Tosca"-a play expository OF bestlaI and
Ios+hsome things, only to show how bestal and
how Ioathsome it is possible for human nature to
he scarpia is really the play and that ought 10 %
the name of Il. w" W.