Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-03-28

torted the actor. Il shouldn't be playing for
eight dollars week.
Whether or not an actor should observe
mechanism and technic, should depend up
on the hysteria of the moment for his effects
has been subject of discussion for MANY years
The general understanding of teChnic is that it
governs the original movements of the story
only; but as matter OF fact it may govern
such particulars as tears, sob in the voice, etc.
An actor once said to Booth in regard to his
location on the stage at critical moment
Where shall | be-"
1t doesn't matter said Booth Il shall
find YOU.
On the other hand. there are actors who are
never moved at all by the emotion of the mo-
ment,-who are nothing but technic 1t seems
that the protagonists on both sides are unrea-
sonable in that each denies the other This is a
mistake. For instance Paderewski might feel
music better than anyone else in the world ,
yet that does not prevent him from practising
six hours day. Absolute control of his hands
keeps them from hampering his intention.
Hyster1a is a fine value in the theater if YOU
govern 1t but once 1t runs away with YOU it is
far worse than useless. Every actor has the
experience of breaking himself up and at such
time IS not at all convincing to the audience.
When l opened here in The Battle, was in
very nervous condition. critic said of the
performance that was very melodramatic in
some scenes. Asked where he said it was at
the end of the second act. In fact, l had broken
myself up and could hardly go on, l made an
enormous hit with myself, but not with the
audience at all. Clearly, it was not my business
to feel as did, but to make the audience be-
Eeve that the character | impersonated felt so.
| was actually real. If a mans exhibition of
his natural emotions had the quality of con-
vlnclng, there would be use at all in study
ing. In fact, study would dull his sensibilities
and destroy hysteria.
Ii a man must cry on the stage, he should at
tune his features to the exhibition of tears with
out making himself look ridiculous. If one
should attend funeral and see a number of
men CRYING whose features had become hard
ened during fifteen or twenty wears. nothing but
respect for the situation could keep him from
laughing. Nor is the noise a man makes less
come than his appearance on such an occasion.
No, there is nothing in natural acting.
Effect of the Stage Life
WHAT might be called reflex action is a
curious psychological feature of dramatic
art. 10 illustrate: wrinkles mans face
denote either suffering or thought. A placid
countenance, on the other hand. means absence
OF either such experience. In some wav a man
who night after night trains his face into an APP
pearance OF mimic woe and himself into the
hysterIa OF expressing strong passions will ex-
perlence reflex action to a degree.
The best proof of this is that tragedians die
young Booth passed away at fiftv-seven an
old man Jefferson died seventv-four wears
young, after having lived with one lung for
forty years So that comedy not only is more
grateful line of acting. but healthier one No
man can spend Years in mimic passion and
make believe tears without finding some reflex
burrows on his own mind and body