New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-02-13
AS-TO "MANNERIsMs -

Inc Remittance here of Richard Mansfield which
VIII be made next month, will. it probable slim
uiate discussion not only of his presentment or
schlller's Don Carlos" but Of what various
scrlbes call his "mannerisms" Those attributes
OF his acting are frequestly described as distress
ing The amount of the distress" seems to vary
sometimes the "mannerisms' are mot so ap-
parent sometimes they Increasing with time
and becoming confirmed" As Mr. Mansdeld's
Pecuiarties. except to difference between those
OF youth and those of middle life were always ex-
@euy as distinct and as prominent they are
H'". thls information is more perplexing than
pertinent But one thing is clear. Whenever Mr.
Mansheid's performances happen to be uncommon
~ me- those 'mannerisms' a very useful
purpose, because they provide the grievance with
out which well constituted critic can preserve
his mental balance. Always remark said Gold
smith, that the picture would have been better if
the painter had taken more pains" Nothing is
more significant to the observer of human nature
than the resentment inspired, in a commonplace
conventional mind, by dominant personality. The
rustlcs exclamation Els d stranger-'eave 'alf q
brick at i'm perfectly expresses it. Mediocrfty
never satisfied until II has dragged down TO its own
dull level everything that is intellectually superior
No actor ever caused more disturbance. because
OF his personal pecularities than Henry Irving did
During his professional visits to this country al
though his wonderful genius compelled and exacted
admiration and reverence. his acting was scarcely
ever mentioned without a reference to his man
nerisms." Yet. in fact, he had no ''nannerisms
He was simple and direct q child,-far more
simple and direct than many children are. But his
individuality was so strange, fine. so distinct.
superior, that the mediocre mind always dis
trustful of anything different from itself immedi-
atey resented his supremacy, and strove to console
Itself by disparagement. Irving once rebuked the
talk Of ''mannerisms' by a playful comparison of
contemporary detractors with the fox in the fable,
who had lost his tail; because of their fnsistent
desire that men and women of stronger indyidu-
themselves ard hat
tage
If the standard of excellence in acting facility
of disguise, then certainly. persons Of strongly
marked, puissant individuality be great
actors.-for they cannot conceal themselves. But
that is not the standard, never was and never will
be. Nobody. surely. would want a Rembrandt
Titan Turner because the master had in his
painting, sunk his personality and obliterated
his style that his picture might be the work of
any artist possessing technical facility. In
deayOrng 10 maintain prosy conventional stand
ard of excellence in the art of acting-the out
growth OF the laborious literal, Photographic Con-
tinental method-its principal opponents make
strange exhibitions OF themselves. The French
tor, NJ. CoqUelin of the chief opponents, in
print, Of that standard (fOr, in practice Mr.. COque
lin. fine comedian, has a personality so distinct
that nobody could be thirty seconds in doubt as to
his IDENTIFY, undertook publicly 20 set Henry
Irving right in this matter and that abortve effort
of his well exemplifed the deporable folly OF
sertation with always merge your individuality"
and ended it with Never set your individuality
aside"
1t is the same with Richard Mansfield as it was
with Henry Irving. His individuality is his own
and his peculiarites different from those OF
Irving; but those pecuarities are not manner
isms." any more than the shape of his and the
color OF his eyes are 'mannerisns." They are nat
ural TO him. They more or less marked at
different times according to the degree OF excite
ment under which the actor labOrs at the moment:
for nothing reveals the actual beng,-usually more
less ohscured by artificial ACKNOWLEDGEMENTS
the emotional excitement that deeply stirs the
whole fabric his nature. And it is always under
excitement that peculiarites are most pronounced
In his younger time Edwin Booth when acting
Hamlet. was some times oVerwrought with feel
ing that he became almost tncoherent at though
you may fret me, you cannot play upon me- he
would hurl the recorder almost up to the fly
gallery. At other times. as in the explanatory
speech to Ffordeisa, in The FOOLS Revenge" his
tones would become nasal at do not look so like
thy mother, childi' and seem artifciaI-which they
never were. One OF the best light comedians of
day. Mr.. Frank Worthing, when under the
stress agitation, particularly the occasion Of q
first performance.-his usual nervousness and sens-
bIlity becoming EXTREMES placed at a painful dis
advantage. With Richard Mansfield excitement
operates TO make his speech vehement and explo-
sve: his voice becomes deeper his presence exalted
his demeanor tumutuous and buoyant But there
is one solace. The public in spite OF the talk of
''mannerisms manages 10 enjoy his brilliant per-
formances, and 10 follow, with keen attention and
sympathetic enthusiasm. the TRANSPORTATION which
proceeds. that extraordinary man passes from
tory. ". W.