The San Francisco call., 1910-08-21

not because of the excellence of their
construction.
There is Uncle Toms Cabin" which
ten, but it crystalIizes. in the story of
the slave. the story of the struggle of
the weak against the strong. Then
there is Monte Cristo,' a story of
wrong and revenge, which will not
grow old; The Two Orphans theme
of sisteEly devotion; East Lynne, Ala
bama,' Shenandoah though there's
doubt about its endurance; and-well.
rye run out of names, though there
are more, Of course"
How about The witching Hour?' "
/ asked would you include 1t in your
list of big plays?
It's too soon to tell. AS I have
said. mere perfection of construction
will not alone make a play enduring.
1t must exploit a theme that appeals
not only to the generation which first
sees 1t, but to the generations which
are to follow"
"On that account" said 1. IT should
say that The Servant in the House be-
longs in your repertoire of enduring
plays
I'm inclined to think it does" said
Mr.. Nugent.
sNVfHAT is true of play which
w CONSUMES an evening in the
hearing is true of the one act
play which takes only 25 minutes of
your time. Like the plays which last.
the vaudeville sketch must, if it be
worthy, touch the artery of vitality. 1t
must concern itself with the real We
have many writers for vaudeville
authors of short plays-who grope near
to living themes. But they lack tech
| nical knowledge how to set their ideas
forth, and they have less time in their
short sketch to. make their theme ap-
| peal in spite of poor handling than the
writer of a long play who happens on
a theme of big Importance mean
that in the vaudeville sketch the ele-
ment of construction is more important
| than in long play. You have to say
| things quickly, you have to make your
points more keenly; you have to hit
/
your buIlseye squarer than in long
play. There is much intuition abroad,
but too little tuition. Our writers
should be scolded until they learn how
| to express themselves in the language
| OF the art in which they elect to en-
body their thought. They should study
| how to make a play. Constantly they
| confuse activity for action. They write
as though the result to be achieved was
to have things happen, and preferably
to happen quickly. That's activity. 1t
| may be likened to soldiers marking
| time. 1t lands nowhere There may
be more action expressed in a quiet
conversation between the actors sitting
in easy chairs-more impulse and play
movement
n Y this time the speaker acknowI-
X edged he had gone into comedy
because he was serious.
Il have always been rather serious
| than otherwise. But the actor who
finds that he has gift for the express
sion of a certain phase of life is wise
when he gives himself up to it. JEFF
ferson, you know, once said: Comedy is
a serious business I work out my
points carefully and am aware every
instant just what 1 do and why I do it.
l know In advance. too. what will bring
laugh. When 1 say Hello. doc.' to the
young osteopath, 1 know why the audi
ence laughs. 1t is psychological.
There's nothing funny in the remark.
Indeed It's very solemn, but the audi
| ence laughs because 1t knows that am
| Intoxicated, IL knows that 1 have lust
met the young woman physician for the
| frst time. 1T knows that she does not
know I'm recovering from too much
celebration, and the incongruity of the
proceeding startles the beholder into
a giggle of pleasurable excitement, un-
mixed by fear of danger or violence to
the person or feelings of the pretty
| girl who stands before me.
+ I'm fact" this after another leisurelv
pause, 'one of the finest vocations that
man can give himself to is that OF
creating hearty, wholesome laughter.
1t is the only thing that distinguishes
a man from the lower animals. 1t is
the peculiar possession of mankind, and
pure laughter Is spiritual TO create
| 1t is a spiritual pleasure
| But there are many kinds of laush-
| ter. The cheap comedian gets the
guffaw; the vulgar comedian gets the
mirthless, vicious. leerfng laughter. If
a man goes to his work as a comedian
merely for the immediate effects of
applause and gain which he can achieve
| his trend will be downward He will
work for laugh, even IL propriety
and decency are shocked. He may have
an immediate reward, but it will not be
| lasting. 1t reacts on himself But the
comedian who steadfastly works up-
ward toward the creation. of pure
| laughter will find his place finally.
Usually we get our rewards about as
soon as we deserve them.
Speaking of my seriousness of
| nature Did you ever notice that the
| funny man is rarely funny on thA
stage? He may be funny two feet
away and be able to convuIse circle