The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-12-18
TOPICS OF STAGE INTEREST
JBi jRViNENfI az >tHtH
HF ENH tRBT'S INEIi ENsE.
shc iias >ur, c,i NJ lirr contemporaries
The BanrinE ol Ruth ~. Dr"'s
Thr = alur oI an Ohi Theatrical Idea
t.rarrIuI IN0luiI"n> niih0ul VT.

GrarrIuI INoiuIi"n> with"ui \Fi.
How -i.,1, s.tr. axe Ind - discerning
critic 81 '..-I .tr dtt iur into Iurr' ,ll--' -
the varied rrtuu~r ia which sarah B'rt-
har,tt 49, Mn To- deliver The, -u.,vh.-
"a hes uLs,>t The first of these aud 10y
al means ma" must typical 81 her early
training WAS she -ing song chanting In-
tunailun Cd! her lines which ,I-.-d ~ hr
uust upt,"'hhl" III her Interpretation uf
ne heruIne- Il IN" IDm.dl. fTdn' Arse
repertoire. twas her method ~ Pin" ir,''
ami again in Herman when III" sang
.ne ."rs.'- a. any discuss ar CrutlllC nr
20 tiedlsV might do Bu that j. still the
method ~ ia" H'tor~ IT the Hurp-" nf
Mulerr Vhe'hrr m IA" Cia-~r' irlg "dE
ii Rs4lIn. and turucii,r or IN the rumanf I,'
.traun when H. "A"'uplIi'i hy DInn>
Arr lean Muuu.l Suily sang thr t'urid
HcrR1Hi ~ IA" sam" Nay and altered
pniy hi- tvmpn IT, IN. mor,' ans ere speech
ii G,iips
D. Na- ,hs ntialh, >l,nrdlD that IA the
'nmS IT ihl- expert made mp her second
method and that Ma usually most sHec-
i've when li Wa employed ON the French
nasal. Their. u sat fas' in the mask u.
and like the strokes of hammer ON "a
rather ilnny bell. on. word poured oui
after the other But not rapidly IA
The shower VI language in that third
-tyl. whl,h shot out on. sentence after
the o'h'" with such ripidity that nobody
knew wnerp on" left III and the other
began ! he most complete case of the
treu"h Theory II verbal lia-on could not
haS" ,,rr~,-d this oral stream which
rrntii"i from ia" iip- 1T the actress, /,
VS. ~ ll-r emotional olItbrrsiS Of a more
,r,utaIrt,i character that she used 20 call
into Itos tnt- form Of vocal uteranC"
Nova iay- tner" seems 10 be no such
variety ia her methods Of speech II
will he po--'hi, Ia tell after the production
Ut -Phedre" il IN. -till ntone- the AleSan-
driues ~ Racln" with the obi beauty
~ IA th.re has b.pn Tao exhibition Of
tins woong cantahil. thai used To rise
and fall IN wave, of such ~tns'IOus charm
that the rar was -poth.Ai hH their beauty,
even when there was not sufficient compre-
hensi0n vi her language to absorb the full
interest of the play. There was nn indI-
cation IN the speeches of Les Buttons
that Mime Bernhardt would again delight
the hearers uf her Verse IN This way In
the -Nai-- speech IN -LAiSlon." and IN
parts of la fo-ca winch she acted on
Thursday afternoon. there H. frequent
Use 81 the vocal method which has taken
the plac. al It's predecessors and serves
her purposes a. well III the dramatic
scenes OF he repertoire. TO which she now
confines h"--elf
This consists of the metallic InrIsive
Ies- If her -ta,Talo rounding at the
wut ds and occasional Out breaks of rapidly
rpukeu pa'r"T. which happens now To he
expended ou IN. least important parts Of
IN" t.Ni ar her poetic ChantlnZs there
mas ~ ia b.gi no revelation and bur
"T" opportunity for il To her present
plsy- aui to tho-.. hat she ha, preserved
from tn. past her actual vocal equipment
- adeCIat"
In La Fenn.. n winch -ns acted last
week fOr the first time here. there came
~ her with splendid usefulness "A fourth.
n unclAs-lted. quality. which has always
been M her disposal and is now a. potent
~ ever This IL the presence Of thar tear
IN her voice which he first commentators
on her art 80 loudly praised. She can
still weep Ar she talks, A. non. OF her col
lea giles ever has. Llil Lehman once said
thar Helena Modjeska was tear bag as
Marguerite GiuiI.r and genius ~ comedy !
ROsIiind Mime Lehman has always |
heel AFFECTED To very positive opinions.
and thr, expression of her thou ht- offers !
additional proof Of fer fonine-- for
dscidsl point Di view ON all matters OF |
art The-" Erye: Wa- any excessive |
laohTymo-. element ~ he Polish actress = !
met mods Nor Il - MIN. B.rnhaTdt .ve-
suggest any too great weeping although |
she Gh sell nav" called that into pla y |
when she acted "a" abondoued mother Of |
Alexandra BI--pn- tgnoble play
Her sens. Of beauty always keeps her
from p%ce-- II would hav. been impo--
siblc for her now 10 make this worn an
the -latternly dsrelict that she has some !
time- appeared her" The French actre
chooses To Indicate her degradation 10y
mean that were not opposed To tbs. idea
Of a sufficient remnant Of feminine charm |
to maxi her -tIIl Do--ihI" a the mistress
OF the man who deserts n.r so heartIes.ly |
Tn" most dramatic moment Of her acting
in the play anart from tn" poignancv !
Of her despair whil" IN m. dock was her
sudden and almost UNCONSCIOUS manner
of turning mechanically To- the man next
her Will. she h"li rn- smoking pistol
in her hand a. u - explain that .h. had
Her indication of the excited state Of her
mind and IN. b"w d-rInnnt of her -itua-
ton at this moment va mastery. vet tn. .
epIrode wa- detail that lesser g.niuse-
might not have thought worth while
IL was interesting to see the actress 4
once again in La TosCa FLorin Tosca !
WAS an opera singer Some of her de-
scendants Of the present day might we'll
have exhibited more sympathy for their
departed comrade Yet Ihe prima donnas
nj the day have hurled themselves on
FioriG with complete lack Of consideration
for her. Neither age. ~" nor any other
has ever prevented them
from singing the role when they got
the opportunity Emma Eam"s saw the
first production of tn" play AZ tn" Port.
81. Martin Theatre. went home and put
two candles on the floor 10 show her
mother how Impre--Iv" tn. murder of
ScdrpiT had been Ait"rward she achieved
her greatest dramatic trrImphs III tn.