The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-03-06

old days And did the other actors az the
table rebell Perish the thought. They
acted their part albeit II was a lean anC
hungry part TO play for the foroe 81 ira
dition was more powerful than the pan 9
Of appetite.
Behind the old actors seeming superi'
ority war a pitiiul narrowness OF view
He had no breadth Of soul. no mental
expansion. Ia addition to the necessity
Of continually playing a part after this
curtain had runR down. there was against
him n social barrier more or less severe
He associated only with his own pro.
fession and hts interiors. To-day he is d
member OF clubs. He mingles with all
sorts and conditions OF men. HE mind
u occupied with something besides the
effect he is producing on the public
Let him strut up Broadway and look in
| the windows at his own reflection a. h
walks along and he Ia a target OF mirth.
! Let HIM talk shop overmuch and he Is
taboo. The peadulum has swung far IN
the other direction.
But I firmly believe il IN going to swing
back, for intuition suggests that il has
gone too far. | do not mean by this that
I think We are going TO resurrsct the
| fashion Of affected mannerisms. but ! d.
believe that We are going to get away
| from the school OF absolute immobiIity
tina, now exists. where the most tremen-
dOus moment Of an emotional crisis IL
shown by a fiash Of the eye. a raising Of
the eyebrows. where the cruz Of a tragedy
10 expressed by non-expression. Il 10
we'll To have a sense OF non-color. which
the had actor did not have. but il doesn't
do TO paint your pictures all ia Rr3ys
all the time. Low notes are effective only
when compared with the high notes
at the climax just as We need better
diction. so We need greater expression
Il 10 not necessary FOR an actor 20 en-
phasiEe very letter in the word and rest
between every syllable. yet TO show his
contempt for that old style IL elocution
he need not be inarticulate | consider
The City a very good instance 81 what
mean The work done by FULLY Marshall
IN that represents my ideas sucCinctly
The vitality Of a great moment expresses
ltself humanity to-day. as u has always
done and TO have vehicle for true dra-
matte "a yressIon y - not necessary 20
put on a play Of The Middle Ages
Il have dined recently al a cha rmingiy
appointed house up town whose owners
and tenants. a man and wife married sev
eral years. are to all seeming couple
70 be envied | was told however. by a
friend 20 notice the oak panelltng in the
dining room behind the chairs Of the man
and woman. aud ! did 80 without having
my examination noted A. ! had been
informed the woodwork was considerably
dented and some Of the marks were.
should say Of considerable age They
had been made by dishes thrown at each
Others heads nv moments Of extreme
fs-lug and To say that TINS couple were
outside the pale OF modern types would
be TO show yourself outside tue posses
-ion OF ol,esrvant and sympathetic facul-
ties | take them "a a modern instance
Of extreme expression, but ! certainly
believe that IN great emotional moments q
grief. passion. anger. remOr-s. men ana
women nov and then COMFORT their faces.
usa uuacCu-toned gestures and raUcous
ton"s; With :n..r inexperienced muscles
endeaVOr 10 relieve the great mental
strain that - obsessIng them. I believe
doors are slammed to-day ~ they Used
70 be-.
When ! saw AlOunst Sully last as
Edipus / was struck anew by the stern.
blue jawed face resembling ia It's few deep
lines the faces Of some Of the real actors.
the good old actors Of the good old days.
40 unlike the modern. unlined faces OF she
new school where a man in intense drama
seems TO adopt for MS example the typi-
cal clubman coming from luxurious
oGice on his way 20 q well ordered hons
and an evening la a boz at the opera
aud where the actress 10 apparently afraid
TO sniIs or iroWn for fear she may crack
the enamel ON her face.
4 consider Booth as standing at the
transitional period between the two
schools u acting No one could accuss
hlm OF lack OF expression or u faulty
dict,on: Oh the other hand h" never eN-
a9geTated he vas never known 10 rant
or rave and his sense Of VALUES Vas per
feet Although kesnly alive Co the h JUNIORS
and To- IN" Neakn"sss-s ~ the old school
ha was p-veT harsh To them wbils he
watched the new disciplss growing up
about him With interest that was just az
keenSy alive 20 their faults rs 70 their
merits. although he left b.-hiBd no record
Of his comparisons. His father. the
elder Booth. az he was called. Was an
example Of the obvious, exaggerated
style Of acting aud once cornerrd by a
critic and asked. How do you think your
acting diaoTs from your fathers. Edwin
BOoth pond'r d a moment. then said
very slowly and softly. I think I am
probably a little more gentle and mode
r1ta than my father was Il 10 mere
difference of N. thod.'-
The costume ~ L . TOV''s. Mr. Shin
n'T says. he r"surTrctud from some for
gOtt a shelves IN an establishment on
lover Six;h avenue whsru actors % tho
old shoOoi all one ny one ii" g-rmsuts
that have had their day and cndeavor
n ith varying degrees of success to re