New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-09-01
SCHOOLS OF ACTING.
Uhere 4Smr3ng Players and Ora
tors Ire Trained.

with heaven born gifts who need no instruction !
may be fairly numerous Yet here scarcely |
enough of them to gu around Hence the dra- |
matte school. where skilled teachers take the
rough material in hand and turn out the trained |
actor. In this particular New York is especially |
favored There great many schools in the |
city where youthful worshipper of Thesps may |
kneel at the shrine. and, universally. they are |
conducted on a very high plane. At the best of
them it is by no means easy task To gain ad- |
mission Il pupil. Mere money cannot force /
acceptance of a candidate: ability adaptable |
ity. presence. must be possessed. These given |
and the applicant for instruction accepted then |
commences a course that is a liberal education
in itself. AS a general rule there two terms
in each school. to go through which takes up !
two years including vacations During the
first year the purely technical side of the pro-
feSSIon is dealt with The pupil. in the hands
OF experienced teachers. receives instruction in /
voice culture. dramatic reading physical culture /
department. fencing and dozen other subjects
all tending to improve the mental and physical |
equipment. II is hard work and plenty of it /
The glamour of the foOtlights which has al |
tracted SO many Of the students is lacking 1t /
Is all cold, matter-of-fact business and the
Weakli1iS quickly drops out But those who re- /
main and go through the two years course come
INTO their own and surely obtain their lust re- |
"aru' mere Is plenty of room for good actors !
and actresses. finished artists who shine only in
one line OF work, or those who are good all /
around performers. And pupils from the priD- !
cipai schools are eagerly picked up by discerning
managers, for they know that as in every other
walk OF life, those who have received a good
grounding in their chosen work are the hest
equipped and the safest to employ
PRACTICAL WORK
When the first years course has been gone !
through then comes the practical mart of tho !
instruction The actual life of the actor so far
as 1t pertains to the real work of the stage !
Is taken up Plays are put into rehearsal |
'iie more competent of the pupils are
assigned 10 principal parts. while the others are
cast Tor the minor characters. Under the ewes !
oil competent stage manager the pupils are re |
CURED TO rehearse daily, and Woe TO him or her |
VINO Is found wanting. As in real stage life
the stage manager is hard taskmaster who is |
not Without certain genius for tongue Iashinp
Inc rehearsals progress. however to the time
wren degree of proficiency has been obtained
anu tue Jay OF the production approaches That |
arrived the embryo actor tastes for the first /
time the joys of success or the pangs of failure
But whether the play is a success or a failure
matters iittie-the pupil has acquired all that
the dramatic school can give and the future is !
iii his her own hands
AS has been said. New York is especially
favored as regards colleges of dramatic art
The men back of the principal schools are Of
nigh standing, the teachers are capable the tone
ol the institutions elevated. the results are posi-
i've At one Of the best schools in the country
the fee charged is 500 for each of the two
courses. but. as matter of fact, after becotn-
ing pr ne tent in what is taught the first year
Il pup'l IS adequately equipped TO take employ |
Hent, the second year being devoted to the prac-
tic;,t side of the art. which, of course might he
acquired In actual experience in any theatre
Wer" there any theatres of the best class where
the tyro could get the variety of parts and the
advantage OF working with the leading members
oil The profession that existed i'll the old stock
company days. But now, the young man or
woman who begins at the bottom of the ladder
Is likely to be cast for a small Part in a play
Whch may run fer one. two even more sea-
sons. with no opportunity Of advancement or of
showing his or her superiority in special lines
d work. For this reason those who can afford
the tirle and money generally prefer to remain
through the entire course, and, in the end find
IL greatly TO their advantage TO dc 50
To give a list of the better known artists
whose abilities were developed in one OF other
Of he dramatic schools would be lik.. present
ing a roster of much of the profession. A few |
names AT random. -eadi1y occur like those of
Grace George, Ida Conquest. Allce Fischer Rcb-
81" Ta'cr. George Fawcett. and Brandon lyman
AL these capable artists frankly acknowledge