New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-02-27
9MA PRODUCING as18@
Ferdinand. Gottschalk Tells Just How He
Won Success in Light
Comedy Parts
How He

school in this city, throws illumination on
the purely technical side Of producing COM
ecy effects.
ne comedian, he explained, usually
plays down near the footlights as much a.
possible where he can be in close touch
%ith the audience and where they can fol-
low his expressions and his quick by-play
lis facial makeup is lighter-that is there
is less OF it than for the serious parts-and
he uses very little il anything around his
eyes. Heavy makeup limits the variety OF
expression that the face can assume, and
any such limiting would hamper the come
dian.
Another point in comedy is the use of
light colored scenery with plenty OF illu-
nination, both the stage and in the au-
ditoriunl And, rule, there a good
many properties on the stage in comedy.
There is a story about Augustin Daily which
think has never been told OF him, and
winch reveals him the originator OF the
whole system OF comedy as il is now usu-
ally given.
He went TO magician's show one af-
ternoon some forty years ago--he and his
stage director After watching the minute
detail and constant motion of the wizard
for a while. and noting the complete alb
CT the nasicians hands. he tapped his COM
panion on the arm and beckoned him 10
follow DAILY led the way out of the thea
ire. and when he got his man out on the
street, he cried
. Old man. could not sit there anv
longer. I've q whole new theory about
comedy. and we must get 70 work with ii at
once- Instead of having the funny man
stand around trying 10 look comic and say
funny things. we'll adopt the magician's
art OF keeping on the move. hands body
expression, everything. That is absorbing,
and If il is done with funny intent il will
be brand new. II will take
On this theory he loaded his stage with
properties books, articles of various inter
est, and he trained his comedians never 20
De Idle Pick Up a book try on some one
else hat-anything. he would say, but al
ways keep the audience busy watching YOU
ne scheme worked out successfully at once
ana mas fallen into regular use as method
IN comedy almost never dispensed with.
a purely technical point. and vet 4 very
surprising one 10 most peonIe. lies In the
oeiayed gesture remember having an ar
sun1ent one afternoon with Mrs. Kendall
as 1 sat with her in a darkened a,1ditor;,,r,
watching dress rehearsal of one of nv
school plays. Eliza beth Tvree. who was
then student with me, was taking a COM
edy role in the piece. Mrs Kendall was
surprised when I stopped the performance
and called out: Miss Tyree Won are in a
comedy part; delay the gestures. Sneak
hrst then point 7 won over Mrs. Kendall
Nhen L gave her an Illustration. Suppose
said. that l am Romeo coming into Ju-
nets orchard I look up and murmur:
But soft. What light thro' Wonder window
II is the east and Juliet is the sun"
After which I suddenly point al Juliet
with my finger. Is the effect not comic?
But If. as I come in. 7 raise nv arm toward
her balcony and follow with the line
1t is the east. and Juliet IS the sun"
I have made a serious effect
Dozens of my students come in to me
saying that they have been born TO play
tragedy. and. laying two fingers on the
heart, Try TO convince me TO let them try
Juliet or Hamlet I do so. and often they
unconsciousIy show themselves born come
dams just by their gestures. That is why