The sun., 1916-10-15
particularly those IN English history
than Mr.. Arliss.

particularly those IN English history
than Mr.. Arllss.
WHY r. II. Mr.. Arliss,' he was asked.
that you choose 10 appear in histori-
20 parts? DO You no, find that the
portrayal II a historical character
impose upon YOU more limitations
than the purely fictional? Do you not
find yourself bound by the we'll known
traits II Il man whom history has
recorded perhaps IN great detail more
than you would m ny the representa-
;lon Of a character which Is the crea-
ton 81 the authors gination?"
MIR. Arl.ss was not taken aback by
this battery II questions fired at him.
On the contrary, he was a trife
amused. It seemed. for he smiled.
There are limitations" ne said, 1T
Is true. In portraying n historical
character. but there are also impur-
t,nt conversations. When | am por-
traying "A real character ! am not
constantly drawing m my own i'm
~agination for material To represent
properly the creation Of the authors
IMAGINATION. ! find, instead, that I
have IA rich iield Of material to draw
from and the part grows richer from
day tu day as ! study the character.
and il is always easier 70 feel while
am on the stage tina ! am that
person.
Take 'Disra-li.' for instance. which
I played for i've seasons. During thar
time ! was constantly meetius pe"i',
VITA personal reCullcctions II ihc great
-.,..,., 81, With an.al,f.. - liz
l!fc. which came to them through
others who knew him, The supply
OF information about D!srdeli seemed
m~exhaustible and my insight into his
character grew deeper az long as !
played the part.
II had always been more or less in
terestsd in Disraeii from my boyhood
and | had read extensively about him
even before ! had any idea II pictur-
ing him on the stage. When that
opportunity came began to see him
in an entirely different light, and q
study Of the dramatic possibilities of
his career proved TO he even more
absorbing. With the manuscript. bs-
fore me | began to study D!sracii's lie
and works fnr the character details
Nlll'll "a ~ Nv BltN
How well Mr.. Arliss represented thc
striking personality Of Disraeli Is
known to "A great many tncatragoers
VINO were fortunate IN seeing his pur-
truit of the eccentric statesman. A..
technical skill in suggesting power.
distinction, craftiness, humor, tender
ness. in rapid succession as he did
ia "D!sraeli' is too rare on the stage
to escape the attention Of even tn,
most inexperienced OBSERVER,
\ great deal Of Nonsense, Mr., ArlisS
says, has been written about his
methods Of makeup for this part.
According to the stories which Were
current at the time ui It's original
production. Mr.. Arliss rushed about all
over I'ariS in search of "a wig when
migh exactly match ON" worn hy Dis
ra"li himself. AS a matter II fact
the actor saNS, ~ did what any sens.-
bic person would do looked at an
authentic portrait of plsraeii and then
went to a WIG maker with my instruc-
same rather practical and obvious
manner after looking at the Disraeli
relies In the South KcnsinGton Nd
scum
Those who have seen Mr.. Arliss IN
"Paganini" think that the selection
of the great Italian violinist was
equally fortunate with "Disraeli." 1t
wal suggested by Edward Knoblauch,
who n day showed Mr., Arllss the