New-York tribune., 1908-11-29
NEEDS OF THE ACTOR
By Claire Josephins Clairon-


whoever hopes 20 attain srninsncs in an,
especially in dramatic art has no tina "a tt -
,or instance what study does q not r.eu,.-
distinguish between irony and diseaiu ara :
tween dIsdain and contempt. warmth and ~
excitement. impatIence and anger, anger and -
fssr and terror? Ali these distinctions hav. !.
h. carefully studied. What almost irnoero.r.,s
rrada4ion must there be In the tone of ths ,os.
% express ali tho suotlstfes OF affection os 80.
OF humanity What efforts and exertions - =
tain ths height o. the representation OF term :
,oIssr,r OF ruinl What precision there raux, -
IN. ideas and their expression 70 rsasoa a, =
stage In calm and accurate manner. -tfs~-
being too cold or too familiar. This thl,k :
the most difficult OF all. and TO be quiet .im,,
true and natural. Is the greatest proof OF tal.,.
ons thing must never be forgotsen-that p, =
sctor all the world must be a stage; hs sS..s'
carry into his ordinary life the manner r.o7,..s
for the particular part on which his abHitis, -
FOR the time fixed; for nothing Is 50 lnportap, .
to make a character a habit For instane. !.
peoDle only see botIrgeOise during twenty ho-.
a. tho day. Il is certain 1 shall only ~ a ~
xeoiss when I appear as Agrippina. Ny sxurs,
sion. my manner. VIII. in spite o, any naonsa,,-
.rort become commonplace. I shall not oa...,-
except at rare intervals, the grandeur and naas.z
demanded for the part; do not hesitate "a ~.
that never aiming at higher place n sscs,,
than nv lot has been cast in. have uass I,
duty never to do any act Or utter word ssesa-
z,stent with the noble natures have been ezu.s
=, IN r.present I am well aware that TIA. -.
nssn rfdIcuIed By those who have failed IT,
ssIves TO rise to the greatness of the ocezzk.,
they pretended that had always the regal s.s
ner OF the Queen Of Carthasa They thouzh. q,
aIstress me. On the contrary. they did n /,
rreat service Il proved TO that had ma
ceedsd IN my object. and that the taskz 7 IA
fr,r.osed on myself IN the world. and even "a NJ
own room had been attended with succssx IA
felt this good result IN freedom from n.
arort and tension OF mind which othsrs ha=, =,
bring to their parts while they ssco-s .,
public
c,sra No matter from what quarter IL eornsa Il.
stusvs vaIuabla Sor Il te1ds to make you nra,
x,our own oowera Happy Il ths actor whom u.
public takes sufficient interest IN to e-it:ciss hin
II he has not the ridiculous pretension to think hr
self fnfa1libIe The profession Is a great and Z.
6cuIt one Can you imagine Il otherEtss7 prs
fesslon that demands liberal education knowIsdzs
~ human nature profound studies. elevation a
mind which Is supposed 10 add charms and
varied beauties 10 ths grand thoughts cr the as,s
spirits OF age Whoever would enter Epoa shs
career must bring It study. great appreciated
n, ths beauties In every form and. above an hS
tn Of urreusitting Industry Never forget tie n
portsncs Of every movement The Athenian ora,o,
insisted on action absolutely essential f0r xhsa
eloquencs deficient n suitable action. wOris ssa
their power and their charm II this is tr-a "A
regards the orator, IL Is still more 50 FOR Il,
actor The orator speaks for himself but ths actor
has TO represent another person and portray sssy
emotion He must. therefore. have his imasinatoa
always under his control; he IS not permitted "a
invent; he has 70 remember that he IS perfornazz
as it were a part for another, and yet TO 90 Il %
earnestly as 10 almost lose sight Of his oxa
identity.
All actors should be able 70 draw; they would
then find Il easier to understand how charzcss-s
should be grouped the stage; the picturss9sS
which Is essential 70 every scene, would then bs
studied in attitudes and IN the costumes. IN grsss
scenic effects, the groups and masses would b
properly disposed: but If an actor has stEdsd
drawing than he should consult the best painters
and sculptors.
II not deeply studied the first principles OF urEz
should be understood, SO as 70 know the compass
OF the voice TO render its expression easier 10 b
able to moderate. TO sustain, and vary tbs t5cA
and give to paIn-ivs expressions the rOdulatca
! which they require
theatre should be the school for speech Il q h.
! conceivable that any one should attempt 10 rsp7-
sent the great masters Of the drama and hzVs
studied the great force of every expression; ss
! who does know the value OF words cannot know
the value OF the ideas they represent Furthsrc7H
you cannot pretend 10 give opinion g--As
historic drama without knowledge OF history ana
geography An acquaintance with stage rules, ksss
hearing. good sense and a mind attentive, elszr
and intelligent are not sufficient History, geos-
raphy. and dramatic composition ancient and nod.
ern. all kinds OF poetry. must be well known Do
fore il is possible 70 Judge whether author has
! mastered alI the circumstances and incidents co1-
| nectsd with the characters he represents