New-York tribune., 1919-08-10
Actors
By Rebecca Druckcr


When Miss Marjorie Wood haughtily
withdrew herself from the Actors
Equity Association with the statement
that she had believed herself a mem
Der Of an artists association, not a
laborers' organization, she expressed
not only her own sense of outraged
gentility but something Of the point
OF view with which ladies and gentle
men of the stage have generally re-
garded their profession. 1t was, per-
haps, an inevitable result of their liv-
ing so much in land of mock aristoc-
racy that there should cling to them
something of the pseudo aristocrat's
pathetic fear that to be aware of COM
mon facts was vulgar. To be an artist
and laborer is superficially contra
diction in terms. But, suddenly, in q
world where all sorts of topsy -turvy
things are happening, the theatre has
been caught up in the current of realis-
tic thinking that is sweeping around,
The present strike Of actors is no more
nor less than a demand to be treated
as laborers. And by this assertion,
curiously enough, they finally attain
the true aristocracy, since they hold
their artistic pretensions as simply
above discussion as the aristocrat holds
his manners.
The more sensitive minded men and
women of the stage have realized bit
terry that as the shirtsleeved occupa-
tions connected with the theatre have
grown in respectful consideration in
the last twenty years the actor has
been losing it steadily. The aggres-
sions Of managers on actors rights
have come about gradually, with per-
haps tho aggravated instances occur
ing only in individual cases. It
was difficult not to be contemptuous
Of a class which took aggressions 30
spiritlessly, and great number of
injustices have became imhedded in
regular theatrical practices, through
no particular fault of managers, as
individuals.
The long rehearsal period is per-
haps the greatest abuse. A rehear-
sal period might last for twelve or thir-
teen weeks, while managers and authors
tlnkered with play, and the play
might then flicker out after a weeks
run-with = weeks pay tho net gain
to an actor. To remedy this the actor
asks that the free rehearsal period be
limited to three or four weeks. and
that two weeks work be guaranteed in
every contract. An actor could be hired
and rehearsed for long period of
was discovered to be not the type.
For this he asks some COMPENSATION.
The practice of cutting an actors salary
in half during weeks of poor business
is another hardship which the actor
does not feel should be put upon him.
g.
of the show during weeks Of notorious
ly poor business, but cut in salary
is an indignity he resents. And lastly.
and not nearly so important a point as
has been made to appear in the recent
break between the Actors Equity AS
sociation and the Producers Associa-
ton, he believes that the number of
performances he should be regularly
called upon to give should not exceed
eight week-two matinees and six
evening performances. All extra matt
nees-and in the case of a success. the
temptation to give extra matinees is
ever present with the manaxer-
should be paid for pro rata.
The break in the conference oc-
Cured upon the consideration of this
point, with the Actors Equity Associa-
tion offering to submit it to arbitra-
tion before Mr.. Hughes and Mr.. Taft.
and the managers refusing. But the real
issue is the one present in every labor
dispute, the recognition of the union
with the possible indignity to the man
ayers of having concessions vrested