Perth Amboy evening news., 1906-07-21
The Emotions
Which Sway
The Actress
By SARAH Der NiHARDT

- T ia very American characteristic l notice among women to
T. analyze the various EMOTIONAL EXPRESSIONS of
their beings the same, as they would study the technique of a
- painting or an architectural plan. Asfor me, I have never
~ endeavored to reduce to a scientific formula the emotions
which move us. .,aa.t
1 have been asked if 1 think the repeated Interpretation of emo
tonal and impassioned roles eventually has an effect UPON THE
EVERYDAY LIFE of an actress. We must remember that first of
all an actress is a woman, and while she is portraying a.cerain sort
of emotion she is but pictuing in dramatic art what MIGHT BE
POSSIBLE in her own character if placed in the same situation off
the stage.
1t is true the great dramatic artistic lives the part she is playing.
She becomes the character so thoroughly that she forgets entirely that
other self which carries on its life without the theater walls.
The true artsteis part of the character she is interpreting. Other
wise she would not be a T~EMPERAMENTAL or emotional actress
But to say that she is always a Camille Or a sapho or a Cleopatra is
ridiculous. Why would the portrayng of impassioned roles com
pletely affect the morals of an actress any more than the portrayal of
light and frivolous or cold and sanity ones influence her in the op
poste direction g.. Yet we never hear any one raising the question as
to whether a certain actress is A SAINT IN HER LIFE OFF
THE STAGE because she so strenuously follows the path Of stony,
cold Indifference So often linked with saintliness and virtue on the
stage.
When I see any great actress I do not ask, "Does she really feel
those emotions in her private life?" IT is CARRYING ANALY-
Sis TOO FAR. II do not think that people who are capable of ana
lying their emotions feel them so intensely. There is a subtle differ
ence between the portrayed emotion on the stage and what it would be
in the actress real life. While we weep real tears and feel sincere
emotion it is through fogetfulnes of our real selves, but NOT
TOTAL ELIMINATION of our personality.
The rdiculopsnessof thinking that an actress is entirely swayed in
her private life by theToles she portrays is shown by the fact that the
great aruste1S o HmIed IL ONE LINE IL acung. Lines strongest
statement I ~coull1hake ON the effect of acting on the emotions is that
no woman who iherprets the roles that call forth the great play of
emotions can remain a cold and impassive creature-that is, if she is
an artistic with a soul.
We portray human emotions OF the stage, and these portrayals
develop the emotional side Of our nature. Genius, temperament
what you wll-the actress who plays an emotional role subconsciouly
absorbs the subtle influence of that character INTO HER OWN
PERSONALITY
act what feel My stage pictures are real creatures to me. The
actress, of course, ~stbrought under the sway of the emotions more
than any other artistic. Her art yields a greater personal power owe
her than does that Of the painter o musician. I.
BUT 1T is A MISTAKE TO THINK THAT BECAUSE AN ACTRESS
PoRTRAYS A CHARACTER IN ALL OF ITS SERIOUSNESS AND IN
ALL OF ITS VARIED EMOTIONAL STANDINGS SHE MUST REALLY
AND TRULY BECOME THAT CREATURE.