The Washington times., 1915-04-20
THE BEST
Photoplay Department in
WASHINGTON
Screen Play to Help
Develop Distinct
individuality in
Actors


One of the things the photoplay
may do for the actor Is to give him
more Independence and individuality
in the presentation Of a character
the chance to work out his own
ideas. This may sound strange In
view of the repeated criticisms that
have been made of the so-called
director-made photoplays. But d.
rector-made plays are going out Of
fashion. The advent of the real
photoplaywright and the actor Of ex-
has done away with much of this.
The legitimate actor who goes into
photoplay work now has the oppor-
tunity to present his own ideas of a
character on the screen. And his
reputation stands on the excellence
of the idea he presents. There has
been considerable complaint on the
stage that actors were not permit
ted to use enough discretion in the
working out of their parts. 1t 10 al
ways necessary to have each part In
q play At in with each other part.
But 1t Is also the desire Of the pub
lie to see some individuality in the
work of the actor.
The presentation of a perfect pro-
teamwork among the members of
the company and a desire on their
part to sink their individuality in
the building up Of the central dram
attic theme. 1t Ia highly desirabl Q,
however. to have the actors g:vo .he
very best Interpretation Of the parts
thev have assigned to them. and 1t
work II out his own way than to at
tempt to force on him a characterl-
cation that is unnatural! to him.
Edwin Arden. we'll known in
Washington for his work here with.
the Columbia PLAYERS. who Is now
being featured with Arnold Dalysand
and Pearl White in a Pethe serial,
has some very pronounced views on
that point that are interesting.
Il would infinitely prefer to be.
poor original than good copy" he
says with emphasis, land now after
many battles with directors who
wanted to do nv thinking for me
and make me initiate some one else, e;
! am left alone to play my parts In
the way I conceive they should be
plaved. I had a lesson early in my
theatrical life upon this very ques-
tion. and it made lasting impress
sion upon me. coming as It did from
the great Edwin Booth himself. At
the time of which speak l was a
iiiChiDCl " pooti >oh'PeiS'
playing Shakespeare in the old Bos-
ton Museum. that great school Of the
best dramatic art. One day / was
to play a part in 'Othello and went
to Mr.. Booth asking him how he
wanted me to play Cassie. and II he
had any ideas for my instruction.
NO. / have not said Mr. Booth
very gently. but the part must BE
played well or tomorrow some one
else will play it "
Mr.. Arden, considerably disturbed
but put upon his mettle. went home
and studied the part as he had new
er studied before. He analyzed 1t
until he had gotten a clear concep-
tion of Cassio's character. of every
emotion Of which he was capable.
He played the part and in a way
TO meet Mr.. Booths approval. and
then and there became convinced
that to play part properly one
must take no secondhand knowl-
edge, hut really think and live the
character.
Years later he went to Mr.. Booth
and thanked him for the timely les
son. My boy was the answer. IT
could have told you all about Cassie
and how 7 had PLAYED the part. but
n I had. you would not have used
your own brains. You would have
used mine. Think for yourself
Create your parts according to your
own Judgment and discretion"
u