New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-03-23


the commonly current opinion that the
greatness Of an actor is measured by his
ability 70 assume an unlimited number
OF contrasting roles. The only really
great actor. he declares is the one who
represents with marvellous power ana
truth 10 life the characters within the
scope OF his own personality. He points
out that some Of the greatest actors nave
found certain roles utterly unsuited 10
them and that the great stage perform
ers Of the present time do not enter into
competition TO see how many roles they
can balance on the end of their noses.
The following discussion by Mr.. Gillette
embraces substantially the remarks which
he made on the subject at the graduation
exercises of the American Academy OF
Dramatic Arts the other day:
Personality is the most sngu!arly i'm
portant factor in diffusing life into
modern stage creations. In fact II is
something a great deal more than impor-
,ant. for in these days of close approx
nation 70 life IT is essential. AS no hu-
man being exists without personality, an
actor who ornits it in his representation OF
human being omits one OF the vital
clements of existence.
In all the history of the stage no actor
has yet been able 10 simulate or MAKE
use OF a personality not his own. Inc
tricks. mannerisms peculiarities of speech
and action may be easily accomplished
and yet in vain. They are the capltd'
and stock in trade OF the character
comedian and the lightning change
artist and have nothing whatever to 90
with personality.
The actors Of recent times who have
been universally acknowledged 10 be great
have invariably been 50 because OF their
successful use of their own strong per-
sonalities in the roles which they nave
made famous And when they undertook
parts as they occasionally did. unsuited
10 theif personalities they were great no
longer and frequently quite the reverse
The elder Salvini's 'Othcllo' lowered so
far above all other performances OF the
character known 10 modern times that
they were lost 10 sight below II. Ills
Gladiator also was superb.
"On the other hand. Salvini's Hamlet
sonalty was marvellous for Othello and
the Gladiator, but was entirely unsuited
10 the Dane Booths personality brought
him almost alteration in his Hamlet Sc
lections from il served him as well IN
Isgo and one or two other roles. but for
0thello II was unsuitable. And Henry
Irving. and Ellen Terry. and Modjeska.
and Mary Anderson--each and every one
Of them with marvellous skin transferred
their personalities to the appropriate role.
L do not speak of the many examples
We have at the present time. They SPEAK
for themselves. Even Tow, once In a
while, We can see Rip Van Wrinkle eX-
cellently well played. but without Mr..
Jeffersons personality. There 1t 10 IN
simple arithmetic for you-merely case
OF subtraction. The foregoing are the
striking instances. but every performance
Of every part on every stage is more or
less Of an example-and too often an eX-
ample Of failure. For 1t Is no easy tn's
TO accomplish. Yet. as every actor mas
more or less outward suggestion OF IN
most character or individuality. ii comes
only TO o. question of his ability TO make
use OF H.
Il am only too we'll aware that thls
view sadly conflicts NTH what we are
told is the highest form of the actor ar.
According 10 the deep thinkers ana
writer's on matters Of the theatre the
only really great actor is not that one
who represents with marvellous power
and truth 10 life the characters within Tie
limited scope OF his personality, put ne
who is able TO assume an unlimited num-
Der Of divergent roles. II Is not the thiie
at all 10 consider a magnificent perform