The Birmingham age-herald., 1907-10-28

N author famous a century ago N for his writings on the social and business conditions of ais time,
 claimed that success consists in utilizing opportunities" In almost direct contra
 diction is the assertion of a distinguished
 writer of today, who insists that "a man, to be successful, must create his own opportunities" Both place great stress upon opportunity. Neither mentions in- dividuality This is conceded by nearly
 everyone to be the prime requisite in
 attaining success.
 In business the man who is successful
 must be a man of exceptional personality. He must dominate over governing boards, partners, precedents, etc. Except ing his intimate associates. his individ-
 ualty is seldom known or fully appre-
 ciated His strength of character and
 his predominating personality are vouch-
 safed by his success.
 The professional man has far greater
 opportunities for the fullest exploitation
 of his individuality. In nearly every in-
 stance he is compelled to rely solely upon his own resources and judgment He stands alone and alone he works. His
 accomplishments are seldom shared by anyone. His results are usually entirely
 of his own work. His efforts are gen erally convincing specimens of his own individuality.
 Of all the professions, none demand so much personality as that of acting.
 I consists entirely in individuality. With
 out magnetic personality, an author is doomed to medocracy. A successful actor understands men, He understands life. He understands himself. He knows what he can do. He develops his ac-
 complishments. He realizes what he Is
 incapable of doing. He avoids attempt ing something beyond him. His art is within him. It is his individuality in it's most advanced state. It is his individ-
 uality alone that carried him to suc- cess.
 Three distinguished examples of the value of irresistible personalities and ar tistic souls are those of the late Joseph Jefferson and two of his sons. Joseph and William w. In the case of each their respective methods of procedure were en- tirely different. No two of them work alike-yet alike, they are all successful 1 Both of the young men have had a | wonderful schooling in the technique of their art. Their father was the one great unquestioned authority on the art of acting. From infancy, they have l basked fin an artistic atmosphere. As boys they were drilled and schooled by the father. Their teacher did not in struct them to blindly do as he said He believed in personality. He encour- aged their individuality. He developed their artistic possibilities. The result is that the sons have absorbed the fathers wonderful understanding of the theories of acting. This is utilized by the young men in connection with their natural in- born understanding. Their performances are specimens of detail work. Every characterization given them bubbles with l their own individuality.
 Both of the younger Jeffersons have strong characteristic traits and both are | equally successful. Their methods are as different as day and night. This is | one of the many convincing proofs that success does not consist of opportunity | in any form so much as the man himself and his capabilities.
 Joseph, the elder in seizing upon the | possibilities of part sits down, and in l cool. deliberate contemplation calculates | to a nicety what effect can be secured He knows what a pause will do in one place. what rising infection will do in another, what glance or a sudden turn will do in another and so on throughout the entire gamut of emotions After weeks of careful consideration he decides | just what can be accomplished with every 1 syllable of his entire part. Then he com | mits it to memory. His performances. even to the slightest intonation never
  | stances, are governed by the laughter and applause of the audience, but so l long as nothing over which he has no control does not interfere with his work. every performance is an exact replica of | its predecessor. This method seems to be the favorite one with most of the great actors of today. They devote months l to tine careful preparation of a part and | then adhere to their decision. But by | no means must this method be consid- cred the only proper one. Such is dis | tnctly not the case. This can be at l tested by many of our opponents of the l spontaneous school who have risen to prominence through methods totally un- | like those just described.
 If ever an artist of prominence was in- 1 oculated with the germs of spontaneity 1t l is Willie Jefferson He reads over the | entire play, many, many times. His own part he considers as real. live human | being He asks himself why the part says what it does. He reasons out causes for each of the actions of the role. In ward appearances go Willie Jefferson shape. Its peculiarities and manperisms are as pronounced and as easily under