The Detroit times. [volume] (Detroit, Mich.) 1903-1920, 1912-02-29
Making People Laugh
Is Serious Business
BY peWoLE HOPPER.

How many people appreciate the
seriousness of being funny? | De-
lieve the average theatergoer seldom
gives a thought 10 the effort involved
in the process OF laugh-making, anu
vet the comedian, TO be truly sue
cessiul. must not only be we'll en-
| dowed with mirth-provoking quaU'
1 ties. but must bring 10 bear upon ms
/ work the keen mental faculties OF
I Imagination and invention.
The first essential feature is the
possession OF a pleasing personality,
and. allied TO this, that greatest
blessing OF human kinda sense OF
lhumor: then, most important OF all,
healthy body>~
There is nothing \luite SO hopeful,
so far-reaching. 81 lasting In bene-
fetal effect, asa good, hearty. honest
laugh, and yet, among the many fine
land subtle human emotions that OF
laughing is the most difficult to ex-
cite. When one considers the temper
OF an audience made up. as IL is, OF
representatives from all classes and
conditions OF life. subject 10 count
less physical ills, varying moods,
and the depressing worry and fatigue
attendant upon almost every voca-
ton in the life of today. the task be-
fore the comedian assumes greater
proportions than one is accustomed
TO attribute TO IL.
Comedy methods there are, in
Vulnerable, as widely different as are
the various styles of the masters of
palette and brush: so, waving ell
discussion of theory, let me come
straight to the most important, the
safest and surest rule for success,
which is in my belief, to make peo-
pie laugh with. rather than at you.
This is particularly requisite In
the sketchY form of entertainment
known as burlesQue, so popular to-
day, wherein the actor, all unaided
by sequence of story, contrasts or
characters, situation or brilliant dia-
logue, is solely dependent upon his
own resources and must evolve his
comic effects out OF the exuberance
OF his spirit. and must utilize the
sheer force OF his vitality TO lift
people out of themselves, win them
TO him and make them laugh.
Some years ago. in the course of
a benefit in Chicago, / was standing
in the wings watching the per-
Torrance by Salvini of scene from
The Gladiator" Needless to say the
entire audience was carried away in
a wave OF wild enthusiasm, and no
one could have been more feelingly
affected than / was. When the cur
tain fell amid laundering applause,
the tears streaming down my face,
/ rushed to the great tragedian to
offer him my heartfelt thanks, my
thanks in Italian, so much as remain
ed OF the mellifiuous tongue in a
somewhat unretentive memory from
schooldays. The great man pressed
my hand, beamed into my moist eyes
and smiling sweetly. said: My boy,
your tears speak better than your
words"
II was after witnessing this great
tragic performance that / began TO
belittle the uses of comedy. and
longed TO do something bigger and
more noble than | could find within
my comic scope. Time went on, how
ever. and no opportunity presented
itself, so with something like discon-
tent, in my heart, continued my
work in comedy, and 1t was not un-
til the following incident that ! came
to sincerely respect my calling as
cue entitled TO be known as an art.
II was in Boston, after perform
ance. that an old friend, whose
brother had been very dear TO me,
ard whose death had felt very
kccnly came TO me and said: "Old
man, | want 10 thank you for your
work tonight; you know Ed has been
dead two years now, and this Is the
first time mother has been 10 the
theater since the day he died. | can't
hftf NJ m
with all my heart, old fellow-you
have made her laugh"
IL was then that | saw the muse
of comedy in a new light, and learn
ed that the use of the power Of max
ing people laugh was worthy TO be
cultivated as an art