Evening star. [volume] (Washington, D.C.) 1854-1972, 1919-09-14
Na.imova. the wonderfuI-Concern-

ing the art of Nazimova. America
knows much. The distinguished Rus
sian is recognized as one of the great
actresses of the stage. Of ALA Nazi-
nova herself even the theatergoes OF
the United States know little. beyond
the fact that she acquired fluent use
of the English Language in an amaz-
ingly brief time and leaped from the
obscurity of an East Side theater
presenting classic drama in Yiddish
10 stardom on Broadway over night.
Nine. Nazmova, it seems, was born
in Yalta. Russia, near the shores OF
the Black sea. In early childhood she
was sent to Geneva, Switzerland. to
study music her talent and inclina-
ton at that time pointing to career
her native land she made her first
public appearance in Christmas con-
cert at Yalta, but soon abandoned
music in order to avail herself of an
opportunity to study dramatic art at
Odessa
Immediately following this course
came a more arduouS one, entered
upon at the age of nineteen. at the
St. Petersburg Conservatoire. a school
for the stage at Moscow. Graduating
from this institution as the gold medal
pupil. Nazimova was entitled to i'm
mediate engagement as leading
woman.
The first professional engagement
the budding genius is known to have
accepted was with repertory COM
pany in northern Russia at salary
of $50 per month. for which she play
ed different role every night. Next
she was engaged as leading woman
with Paul Orlenoff. with whom she
toured Europe. and eventually she
"a fn N VIZ g
Orlenoff that Nine. Nazimova was
playing on New York's lower East
Side when her tremendous dramatic
power was discovered. 1t was under
the supervision of Henry Miller that
she was taught English and launched
upon her stellar career on the Ameri-
. can stage
The rest is familiar history.
Hill. general manager Of the Feature
Photodrama Company of Los Angeles
and himself scenario writer, has IN
vented device which he calls a PILOT
Chart" and claims that with its aid any
writer may. invent new scenario plots
faster than they can write them down.
The principle Of the invention involves
the use Of the thirty-seven basic dra-
matte situations and their numerous sub
plots, on which all drama and fiction are
said to be based. To encourage new
writer's. the plot chart is given free to
every one who desires to submit stories
to the Feature Photodrama Company.
The thirty seventh dramatic situation
Mr.. Hill claims to have discovered him.
self.
Acting Under DfmeuIties.-There is
q great need in the construction of
vnot;or n;c%rro n~nHuctfok, - .ur
rounding the players with more of
less of the Heterogeneous rubbish OF
a studio. according to Miss Elsie Fer
guson. -.
TThe habit of surrounding players
with all sorts of wreckage and rub
Dish, while calling on them. at the
al scenes of great power. occasional
~ results in some ridiculous situa-
TONS" says Miss Ferguson.
For instance. during the making OF
sBarbary Sheep" when / was stand
ing on a balcony. the director shout
ed through a megaphone from below:
You are gazing OF into the desert.
drinking in wonderful mirage.
AS a matter of strict fact, was gaz-
ing into another set where a murder
scene was being filmed and where a
sheriff was breaking down door to
release a girl In duress vile. l tried
my best 10 look Dreamy anu IdE-dWdys
but came perilously near to burst
ing into a laugh.
'Another time was told to look
down from a balcony at Lumsden
Hare, my leading man, with an ex.
preston of great devotion. I looked
over the balcony. and instead of MI.
Hare, there stood an enormous paint
barrel / don't know how convincing
my acting was, but l made feverish
love to that paint barrel. I cannot
help thinking that it is just such
things as this that seriously interfere
with the Interpretation of part and
after all. they seem so unnecessary"