The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-05-21

in Lemberg marked new phase in my
experience. I gave up my first place to
accept another in this country. with, l
believe, what seemed to me the magnificent
monthly salary OF s25, From that hour
until now, WREN l am about to begin az
an English speaking artist, have been
associated with the Jewish stage.
.From Iemberg I went to Budapest
and to Bucharest, where, at the age of II.
] was engaged for operetta parts at the
National Theater. There l remained fsr
some years, singing leading soprano rots,
till Mr.. Edelstein, then manazr OF ffe
ITALIA Theater. having heard % me in
America raveled to Rumania on purpose
to engage me for his New York company.
That was ten years ago. Before this
had married.
"And did you take to drama when you
reached the Thalia?'
/ Not at first. For quite long time
! remained an operatta star. But l had
gradually come to the conviction that
there we're higher objects in life for me.
And. after interpreting several OF the
heroines in the Anticipated Biblical and
romantic plays which we're once in vogue
at the Thalia, / threw myself heart and
Among the first of these modern plays
in which l appeared were sudermanns
Die Fibre cHonorD The Ironmaster,
Fedora and Madame Sans Gene also
played in perversion Of A Dolls House
But to my deep regret have not yet had
an opportunity of interpreting real Ibsen
character. I hope some day to appear
in at least two of Ibsen's pays--'The Lady
from the Sea and 'Rosmersholm' They
have always interested me more than A
Dolls House or 'Hedda Gabler,'
"Sudermann,' she continued, seems
to me in some ways more satsfying-or
at all events more dexterous- than Ibsen.
know. Of course. that he is more influenced
than Ibsen by practical considerations
among them the wish to please and the
wish to make money. and | do not for a
moment pretend that he is the greater
of the two, The play OF Sudermann which
/ love best is 'Fs Lebe das I.eben cThe
JOY Of Living. 1t is interesting and true,
And how marvelously it is constructed,
Then there is 'Heimath' which you call
'Magda.'"
Inevitably came a comparison Of various
artists who have played Mdgdd here Bern
hard, and Duse, Mrs. Campbell and Sorma
!, and Nance O'Neil. 1t was evident that
Nine. Kalisch swore by Buses method
however she might take exception to
details of her charact erization. Bern
hareit = Maeda she had not seen, but with
out having seen it, she felt sure that the
French tragedienne could not have done
Justice to Sudermanns heroine.
Every gesture that she makes. every
tone that sheutters, is proof that she is a mis-
tress of stage technic," said Nine. Kalsich
yet | am always conscious that the means
which Befnhardt takes to attain her ne
suits have been carefully and intelligently
calculated. 1t is art. art, art, before nature
Duse cannot follow her in her romantic
fights. But in the expression OF the more
real and human emotions, in the ilumina.
| ton of characteristic is far more natural"
! your ambition. then, is to he a realist
| rather than an idealist?"
"Yes. A realist. But 1t is possible tc
put little idealism into ones realism
| Have you seen me play Sappho. in Gordin'e
drama of that name? The drama is re-
markable, and the heroine-who has only
the imost vague relation tn the French
Sappho--is an admirable creation. In hil
! -sappho' Gordinfhas presented type