davidaulloa/AmericanStories huggingface dataset:
The San Francisco call., 1906-09-09

tory hand.
1T is a curious thing about plays"
he went on. The twilight had gone
out. of Hanover Square, and we sat
now in semi gloom, lit only by the
slow-burning wood fire, that placed the
interviewed on the same plane-as far
as facial lights were concerned-as the
interviewer. The deep voice that had
filled the room so gently was now
backed by a severity of the eyes and a
seriousness of the countenance that
had not marked our conversation be-
fore. Silently l thanked that wood
fire for letting me see every express
sion on the face of the great dramatist
as he told this interesting and in some
ways remarkable experience.
IF man believes in what he is do
ing he must carry his work on. The
Second Mrs. Tanqueray' had a rather
hard time getting on the boards. L
think that it went to every manager in
London and no one would have it. A
friend came to me one day and sug-
gested that I turn it over to certain
society that was putting on plays for
special performances before specialized
audiences. No. l answered, my play
was written for the public, not for a
special audience. Either it shall be
tried before the great public or it shall
not be tried at ALL. And rather than
The San Francisco call., 1906-09-09

with the assertion that acting is only
a matter of opinion,'
1t is such as they that are influenced
by the personality or physical fitness
of the player for the role he enacts,
and it is these that sway them. ire
spective of his lack of art. True, when
the art is there they feel it. are
aroused by it to bursts of great en-
thusiasm or hushed by it to tears, for
the vibrant chord of nature when truly
but of what it is that moves them, or
the art that has accomplished it, they
know no more than children.
Unquestionably all the art and tech
nique acquirable. unseconded by per-
sonalty and physical fitness. will
never attain satisfactory results, and
of the two evils it is hard to decide
which is the more lamentable, art
without personality. or personality
without art; but it is the wholesale
proclaiming. at the present time, of
so many popular players as being COM
petent histrionic exponents who in re-
ality are no exponents at all, but mere
ly possessed of pleasing personality
or comely presence, that is exasperat-
ing to the craftsmen.
That the average man has always
preferred the chrome to the oil paint
ing is undoubtedly true because he is
not educated up to the latter, but he
acknowledges this as a rule or pre-
serves a discreet silence when such
matters are under discussion that his
ignorance may perchance pass for wis
dom. content to purchase a cheap lith-
cgraphic copy of the unobtainable orig
inal at the nearest print shop for his
personal fireside enjoyment.
Let him exercise the same discretion
in his attitude toward the theater Let
him patronize those plays which appeal
to him-he will, he always has, which
is proper-but let him keep his mouth
shut, not publish his ignorance to those
who really know
And who shall arroSate TO himself
The San Francisco call., 1906-09-09

r. ULLY q quarter of a century ago,
while browsing through an old
catalogue of the Boston Public
Library, I unearthed duodecimo
volume entitled The Player" Written
more than a century before that date
and in the old English script and SPELL
ing II was a treatise upon the art of
acting, setting forth the rules and
methods which should guide the actor
Of that period in the portrayal of his
roles upon the stage and the principles
which should govern him in the pur-
suit Of his calling.
For modernness of thought, direct
ness Of purpose, concise, terse and mas
terful elucidation 1t might have been
written today, the wisdom Of its tiny
pages annihilating with every line the
oft heard declaration that acting is
only matter of opinion" Nothing is
more eXasperating to the craftsman
who has spent a lifetime in the study
and practice Of this most beautiful If,
alas, most tTansitory of all the arts
than that hackneyed and most sense
less theory.
Acting-real acting-eliminating the
element Of personality and physical re-
lationship. is as fixed an art as the art
Of painting, sculpture or music. But
how can the element of personality and
physical relationship be eliminated
from the stage portrayal of a char
acter2 IT cannot-from the perfect
delineation of a role-but as the
painter. sculptor or musician may pos
sess to a great degree a natural apti-
tude for his chosen calling and yet be
lamentably deficient in technical
knowledge Of the art of it, so may the
actor, with every physical attribute
and marked personality, be totally
lacking ia the grammar and technique
Of his craft
Therein lies the secret of the deca-
dence OF the stage today, for that
there is such decadence is not merely
The San Francisco call., 1906-09-09

Other countries, older in their art hold
a somewhat different opinion but with
us-we would prefer to see the young
Italian butchered by some conely
youngster. as he is maltreated every
day. rather than to make any allowance
whatever for the encroachments OF age
in witnessing the wonderful art of a
genius.
Which leads US to the dominating
evil of our present stage. Today per-
sonality and physical resemblance gov
ern absolutely the managerial powers
in the selection of their casts for cur
rent productions. The capacity of a
player to enact role properly. If con-
sidered at all. is by no means estimated
as the first essential. 1t is common
assertion. He looks the part and with
suff1cient rehearsing (they mean
coaching) ought to do Does he?
Look for the answer in results OBJ
tanned. Often the performance of such
an actor is accepted because not only
the theater-going public but the d.
recting powers themselves do not
know and cannot discriminate between
mere personality and the art of act
ing. How many patrons of the play
house know the full value or worth
of a play. irrespective of it's interpre-
tation, or the merits of a player, inde-
pendent of his role? Not one In a
thousand is a conservative estimate.
1t would be unreasonable to expect
such insight from the layman. as it
would be unfair to think that the un-
tutored who inspect a canvas or bit
of clay should appreciate its true ar
tistic value. They do not; they admit
they do not, when discussing painting
or sculpture. and often flippantly dis
miss these subjects with the can't
phrase, "Of course I'm no, judge. but
know what ! like" God save US! But
in the theatsr every spectator has an
opinion-he calls 1T his criticism
which he does not hesitate to voice.
voice in vociferous ignorance, and if
chidcd for such presumption rctalia.cs
The San Francisco call., 1906-09-09
Flr Plnero at his Study Window
Ipb0<o s> c HsS<G Co,

play. And it seems to- me that I learn
the technique of playwriting all over
again as / attempt each work. 1 JUS
tfy this to myself by the thought that
if one had rules for writing a play
ones work would become merely me-
chanical and lose the personal quality
that we are led to believe makes it
worth while.
plays are suggested to me by peo-
pie | have met or known, by some
situation in real life that has inn
pressed me- Then there gradually
grows, as the inspiration is thought
over definite impression and a
knowledge of the people who would
be found in that particular predica-
ment. Once you have seized the
salient characteristics of the men and
women who are to make up your play
you find that they suggest things to
you, and they go on in their head
strong way making you do that which
you would never have dreamed of when
the idea first took hold of you"
The play that l had been good
enough to mention" had held me en-
thralled for two too brief hours at
the ST. James Theater the night be-
fore. and ! looked forward eagerly to
seeing it in September in New York.
1 said so.'
Mr.. Pinero raised slightly depreca-
The San Francisco call., 1906-09-09

NOR OF any SITUATION.
Tell me how you like London" said
Mr.. Pinero, following up his seizure of
the vantage point. taking one of an in
terviewer's supposed prerogatives.
1t was explained that when one is in
London he is too much occupied with
the details to think of it as a whole.
But there must be something that
gives you a general impression?"
Yes; the first Sunday in London I
always go to the o'clock service at
Westminster, the first Monday 10
Blackfriars and the first Tuesday to
Blanks for dinner: after that it is
much like New York"
That's so. isn't ft?" replied Mr..
Pinero- London is becoming more and
more like New York. It quite makes
one feel that it isn't necessary to make
the trip to your charming country
when there are so many Americans
coming over here
There was a pause in the CONVEX
sation before the interviewer had half
a fair chance to register blow; the
interviewee had returned to the attack.
How long have you been in London?
What steamer did you come over on?
Where are yot stopping? What have
you seen in Paris that impressed you?
What have you seen that impressed
you in London?'
It was at this point that the inter-
viewer felt that despite the fact that
Mr.. Pinero had stage managed the
interview so that the tables were
turned the normal condition of inter
viewing might now be restored
The only play that l have seen that
has impressed us was your own, His
House in Order
Our play seems to have met With a
certain success" said Mr.. PineTo, with
the most certain enunciation.
Our play?" / repeated.
Mr.. Pinero laughed. Won't you
smoker"
The invitation was accepted CRATE
fully.
Don't you think that His House in
Order is one of the best plays that
The San Francisco call., 1906-09-09

you have written?'
Mr.. Pinere puffed thoughtfully at his
cigarette While the question was a
little of the wood hatchet order there
certainly was some satisfaction in get
ting by such a bulwark of finesse
Il do my work said Mr.. Pinero,
slowly, .as it comes to me, and l al
ways try to do the best that / can,
without regard as to where it will
rank. OF course the poet always has
an especial fondness for the golden
haired child-the success. l have but
one desire, and that is to express the
truth as see it. When I am writing
play I do not think of the results, 1
am interested in seeing how my char
acters develop, and / must admit that
sometimes they take possession of me
and lead me a pretty dance.
Il know of no rule of playwriting.
begin as a very beginner with each
The San Francisco call., 1906-09-09

the lamentation of the incorrigible has
been.
That there is nothing new under the
sun is as true in it's application to the
art of acting as to all else mundane.
The actor, the genuine master work
man, was, is and ever will be the same
In his attitude to his art and his funda-
mental principles.
To refer back to that same little
volume, The Player" it was most in
teresting to read in the pages of a
hundred years ago almost the identi-
cal advice and directions, even to
the phrasing. contained in similar
treatises of recent date. That we'll
worn admonition, Don't be old
of the dead and gone" or words to
that effect; follow nature in the han
ding of your roles; emulate Mr.. Gar
RICK and Mr.. Macklin," or whoever the
idol of that particular time may have
been; hold the mirror up to nature
Ye gods. that time-honored phrasel
Hold the mirror up to nature, the warn
ing of all teachers of the drama since
the greatest of them put 1t into the
mouth of one of his greatest charac-
ters.
We receive the same warnings from
our teachers of today and to substan-
tiate their declarations they will cite
some comparatively old hummer, sur
charged with the faults, mannerisms
and histrionic blemishes of all of his
famous contemporaries, but with none
of their finer qualities, holding him up
as horrible example of the unfitness
Of the past.
Take the trouble to inquire into that
same old players history and you will
find the reputation he enjoys CD today
is the reputation that damned him in
his prime among those who really
knew the true from the false in that
mimic world. How often is the decla-
ration heard that if Edwin Forrest or
the elder Booth were to return to us
The San Francisco call., 1906-09-09

FHE note Of invitation in itself
even the signature, was an indi-
cation-at least one felt it was
of the man. II was very simple
and cordial. At the very top of the
letter was plainly marked Hanover
Square. At the hour of the inter
viewer drew up at the house
where Mr.. Arthur Wing Pinero has his
town residence when he elects to pass
time in London.
Mr Pinero was at home. said the
man who reigned over the lift" some
where near the top of the building
There a plate on the door announces
that therein dwells one a w Pinero."
I had recently been reading Mr.. W. L.
CoUrtney's scholarly and charming
book, THE Idea Of Tragedy" and the
passage in that concluding chapter
where he sums up the tendency of Mr.
Pinero's work and points out that the
same sweep Of tragic import that
marked the Oedipus OF Sophocles also
marked THE Second Mrs. Tanoueray,'
the same purpose underlying both
plays-tO put before the world the one
thing that tragedy must mean, the
growth and struggle that makes for
character. Standing before that inter
esting brass plate the question nat
urally arose whether Sophocles' serv-
ant would have been so slow in answer
ing the door bell when the traveller
from Lesbos came a-knocking
AT the end of the hall, in big study
where the log fire burned lazily, Mr.
Pinero was waiting. Despite a certain
greatness Of physique, a certain mas
siveness Of shoulders and the extreme
control of a most expressive voice, the
one thing that hit one full, like COM
ing suddenly on a massive bust was
the big head with the great dome of
forehead, the nose OF undoubted
strength and the jaw that with all its
The San Francisco call., 1906-09-09

today his light would burn but dimly
where once it Illuminated the entire
dramatic armament
Would that SUCH a resurrection were
possible, that those masters might re-
turn to US for few f1eeting moments
to revivify what are now but fading
memories to those who were fortunate
enough to witness their achievements
and to enlfghten others who, having
failed to do SO. have ever been without
a standard of comparison as to what a
truly great dramatic Interpretation is.
For, to the average man, in the ab-
sence of technical knowledge, the only
avenue for the judging of merit is
comparison, and rushlight is his bea-
con until he has seen the searchlight of
genius, and then. To be sure, Mr..
Forrest would now have to abandon
some of his hirsute disfgurements
lthough we tolerated them so recently
as Tomaso Salvinis last visit to us)
and other trifiing incongruities tend
ing to make the unthinking laugh, but
1t is not dangerous hazard to declare
that even today his masterful presence,
commanding personality and great dra-
matte genius would. despite any such
insignificant blemishes, dominate and
hold spellbound the present generation
as they did his own.
For human nature never changes.
and great acting is but the faithful
portrayal of the natural human emo
tions. True, a superb portrayal of the
character of Romeo by one of the
greatest actors of modern times. Err
nesto Rossi, was>once laughed al by an
American audience because the physi-
cal embodiment of the part was far
from the youth Shakespeare had paint
ed. But the Interpretation of the role,
the delineation-in other words the art
was perfect.
That alone would not do for the An
glo-Saxon. Perhaps the Anglo Saxon
was right. He had paid his money to
see the part of Romeo looked" as well
as played. which. truly, he did not.
The San Francisco call., 1906-09-09

spent that lifetime in the study OF his
calling. After such a period there are
still inferior painters, sculptors. mu-
sicians and actors. There are aA0
painters, sculptors, musicians and acte
ors who have conseientiously spent
that lifetime and are competent to pass
judgment upon their respective crafts,
but yet cannot. never could and never
will be able to paint, chise1. render mu-
sical compositions of any description
or act beyond Raedioerity
RUSS WHYTAILL
The San Francisco call., 1906-09-09

the distinction of being a competent
Judge of the art of acting? The an
swer is simple. Who shall declare that
he is conversant with the art of paint
ing sculpture or music2 Who shall
proclaim himself conversant with the
technical elements of any art or craft?
Naturally the man who has spent a
lifetime in it's study. To have been a
painter. sculptor. musician or actor, or
at least to have figured as such for a
lifetime does not necessarily estab-
lish the fact that the individual has
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26

men who have heretofore shown a
disposition 90 work with the mayor
In bile efforts 10 rid the city' saf
Joints OF thia character Among
these we're President Bowen Of the
council aud Councilman Reyajlo. II
received alao the vote Of Council.
man Reynolds Of the Tenth ward
who represents an exclusive prohi.
billion commdnity
When the roll was first called
both kecne aEl KeIso voted In the
negative, bat when it was found
that tho ordinance had only 10
Votes ~ lis favor. while 1t we're
needed. President n6wen delayed
announcing the result Of the vote
until keeue could be prevailed up.
on Ia see thu error Of his way and
ask permiaaion To change his vote
"a the affirmative Councilman
oriehtan. Who would have voted ia
the negative and thus prevented
the passage Of the ordinance, was
tafdY Ia arriving and reached the
council chamber Just after the to
suit had ben announced
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26
THE THEATERS

Ono of the most thoroughly en-.
IoYable performances ever present.
ed 90 the patrons OF the Grand
opera house. Is that % Mary.
Mary Quite Contrary" In which
Miss Henrietta Croaman appeared
last night and will appear tonifht.
tomorrow afternoon aud tomorrow
night
Seattle has heard Of Mary" aud
Was prepared for treat, but " IL
doubtful II those present last night
we're prepared for as delightful an
evenings entertainment as that
provided by Miss Cfosman and the
very excellent company with which
she 10 surrounded
MARI. Mary Quite Contrary" 10
a comedy Of the higher class. in
some parts weak and smAckinE %
the amateur. but, Wlthal. good
vehicle Tor ths splendid actors and
actresses vho present r.
Miss Crasman might still be 10
years % aEe. instead Of 30 or 20 or
80 OF 60. OF whatever ahs IL Ia
looks and actions she II an youthful
as ever Nothing ia ovefdons
There IL no affeetntion. She IL
sweet and charming always
BOYD Putnam, the leading man in
the role OF BERTHE. lose. nothing Ia
comparison with Mice Crosman. In
fact all Of the members Of the
company are peculiarly fitted 20
the roles assigned 10 them
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26

Quality marks this weeks bin 81
vaudeville az the Star theater
Three big audiences yesterday sac
and applanded the minstrel mono.
logus OF Arthur Rishy. who is zee.
ond 10 few and third 10 none In that
line OF entertainment the cycle
whiTi act. that Il daring and pic.
tueesaue. of the Hotfmahs aud the
,rayesiY. The Man eutalde. Of the
Aplllo -Four. a male quartet Of fine
voice.
The sketch that accom- panlas the
Honxs af these chaps Ia particularly
Weh written Another sketch. A
bitter Hlt. ls built 90 ca the theme
% ono brother scinx 10 jail fer the
crime OF another, the actors being
Edgar Taylor and Rachel Acton
Miss Curtis IL heard In tao songs.
her voice being ssFy hlEh soprano
hat IL clear aaa strong Peter
uunsNefth appears With an Illus
tfatsd sonE. ana the moving pie
lures have fiims relating TO q al.
surce action that Vas never coz.
suumatua
The till 10 very pleasing ca the
a hole. and dHrinK TIA run Of = SesK
IL sill he seen b al the vaudeville
fans in town. and perhaps some viii
90 t~iee 10 see the Apollo -Four
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26

with intense interest ne struggle
for the control Of the only water
grade route that connects The cas-
With the Pacific coaHt through the
Cascades and IN which he IL to be
a factor.
Home OF the brightest minds ~
the country are applying their eBer-
giles 10 this struggles A. the head
aud front " the Hartman column
are J 4. Farrell. the engineer and
bulled. and Cotton ana Hartman. the
lawyers Taffoll built the Great
Northern. and Tor years he was the
strongest man Ia the. tfill army. I'M
~ a. length the Two fen out over
some question of railroad policy Or
personal etiquette and Farrell vent
over 20 Hartman Behind Fnrreli
arc such men az ii0Hehke, who built
the Galveston sea wall. Hawkins.
builder Of the white Pass route. and
Hood engineering head Of the
Southern Pacific system
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26

aslnserinE head Of the South nora
aeifig syatssn.
The Hiil forces are equally veil
ffiosred With Elliott and I<vsvt
asst masters IN the field ~ rag+
oadlnE. backed BY Darling. who 10
aufiiar with every strategic posi-
Ion In washington ofonseup. Kerr.
Haffy. Flanders. all ghrsWd. 70.
s0uroefui legal minds
Milusvkss's Forces.
Watchers Of the game are the
hilwaukss'r captains IN the north
west, ". H. Williams. for years
general manager Of the 81 Paul
Hyatsms. Pearson, the chief sDEi-
nesr, and Fields. a Chicago lawyer
brought 10 Seattle by Mr. barring
to direct his great isEsi battles. Nv
cry one Of the HbOys named men
have been placed IN their positions
Zoe the peculiar fitness Of things
fot which they are especially adapt
ed. There IL n beautiful serimuAxs
ia sight
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26

of Mayor Moore who IN several In.
stances recently has had his efforts
10 clean up the town 'sf dives OF
this character oYerrldden BY the
council
saloon 10 Notorious
The saloon In question IL the no.
toriouH Oak Leaf saloon. opeStad
by y nsrtel. which the ordinance
permits 20 move 10 the new loea
ton Mayor Moore vetoed the ord
nance permitting tho removal on
the ground that nartel has continu.
ously and peraistentiy violated the
saloon box ordinance no much so
that his place has become the cause
% complaint from business housea
In the vicinity
Action . Surprise.
The passage OF the ordinance
ever the mayors veto was some
thing of a surprise. since Il re-
ceiVod the votes 81 several council
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26
HILL AND HARR/MAN To
FIGHT TO THE FINISH

tefested for two ransonk. FIRST. tho
brains "a this gfes fight are cen
tered here. aud. second, the outcome
means much 60 this city. The bat
tie lie only beginning and what has
been done II only the stripping tor
the battle
4 afs sure those two men. Hafh-
man ana iiill. have it in for each
other today more than ever" said
a we'll known transportation man
this morning. They viii fight 10
the last ditch This talk or a com
promise IL far fetched and without
foundation. a. J. Earring. ~ the
Milwaukee. stands by and watches
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26

oNinE 10 the enormous success
Of The Mascot. when given Of
the Grand iaat week. Managers
Russell q Drew have determined to
present ~ for three nights and =
Saturday matines. beginning Thurs
daF evening ~ this seek. When Cd.
organisation ali. return from Tee
sucressfai enkaEsment Ia Tacoma
@Ths Ma OF" will Be given with
an imprus 4 cast There win BE- g
matinee 81 Saturday.
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26
oRGATEsT RAILROAD CAP.
TAihA IN The UNITED
STATES m THE rRAY-sEkT.
Tia 10 tina HEADQUARTERS.

Railroad men Va particular and
the public ia general are watching
one Of the greatest railroad fights
that has been waEed in modern
times. and the storm center IL IN
Washington along tho north banks
81 The Columbia river Seattle IL IN
The Seattle star. [volume] (Seattle, Wash.) 1899-1947, 1906-06-26
BarteII Explains

The reason the Red Cross DRUG
Store, clio Second AZ. viii eel 70.
morrow the regular 1A-csnf Fairfax
- rinKe for a. cents i because
sell. It's just the habit be has
formed % selling for less and nos
he cant break away from H. That's
not the onlY bargain 10 ayrinsss
either, for tomorrow ss cents vii
purchase a 81 90 Goodyear Syringe
A saving Of e. cents on ono little
article alone Where can 9S cents
DO better work than that ss-