The news-democrat. (Providence, R.I.) 1906-1909, 1906-05-28
THE
GREAT FORCE
IN THE ACTOR

Some reasons for Henry Milers re-
markable success as stage manager are
shown in the following cogent ideas ex-
pressed by him on what constitutes good
acting. His contention that it is easier to
be good actor than a bad one is some
what novel
ITO be good actor. speaking histrionl-
cally. is easier than to be bad one,"
said Mr.. Miller: THE assertion is not
that all ac,ors are highly successful in
the practice of their art, but that they
should be. IL is, much easier To do thing
right than wrong. whether IL be a simple
daily duty. a momentous business trans
action, or the delineation OF a character
in a play.
Actors are particularly prone 10 over
looking this natural law. They go out II
their wHy-to do the unnatural and the
strained. When a man or woman studies
a part, the soul idea should be the por-
trayal OF character, the comporting OF
self in the manner that common sense
and intelligence would dictate without
absurd posturing and grimacing or self
consciousness and awkward concern.
THE main requirement for men who
would be good actors is that they do on
the stage what they would do in ordinary
life under similar circumstances. After
studying the character intelligently and
understanding its intricacies and attrib-
utes. he should speak it's lines and assume
its attitures in a manner entirely natur-
al TO himself
'In the last analysis il Is the bad actors
who are subtle and inspired, for only by
some psychological process could some of
them arrive at the amazingly Gnhuman
and unlntellgent conclusions they pre-
sent What Is commonly called sublety
Is NOTHING more than7a well developed and
directed intelligence, which studies a char
acter and situation closely arriving at
conclulGons by process of mind, and ex-
pressing thoughts and emotions under
mental direction. The subtle actor simply
knows what to do. and has suisfficient
ner.
THE bad actor does not know what
to do, or IL he has some slight inkling,
he leaves his intelligence at home. walks
all around the right way of doing IL. and
produces results that were never con-
ceivcd by the playwright. nor dreamt OF
I'm the philosophy of the playgoer II
takes genuine subtlety TO attain some
of the remarkable effects produced by
some who call themselves actors
"Genuis is matter of personality and
temperament as well as OF intellect and
training. Two actors might play the same
part in exactly the same way-ddentical
In gesture. infection, in movement and in
businesS-and one might awake the audi
ence to clamorous enthusiasm while the
other would leave II cold and unresponf
xive
'The first has within him that illu-
minating spirit that lays bare the soul of
the character. Intelligence and common
sense are but n part OF his equipment.
Behind them are the qualities that mark
the man Of destiny.
yet the mind and discretion OF the
other, when placed outside the shadow
cast by genius, might render him con-
spicuous and place him in a revered po-
stion
THE majority OF those who attend the
theatre are open to Impressions only. n
the general effect Of players work is
pleasing. they praise. What may be its
value. technically, they neither know nor
care. If he Is 'unsuited TO the role,' he
gets no credit and scant sympathy. There
fore, II would seem that personality Is the
great force In acting-just as II is in the
pulpit, the senate or the counting house."