Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-08-03
The
LOVE STORY
of a
MOVIE STAR

MIITH my mind awakened and alert,
w owing to the help that II had
already given me by his many little
hints and suggestions, began to note
for the first time in my life, little,
subtle, delicate things which hitherto
had escaped me entirely. l realized
how raw and crude all my efforts had
been. With sincere humility, l ac-
knowledged to myself that ] would nave
to begin all over again, unlcarning much
that I had already learned, If ever l
was going to make anything OF an
actress out Of myself.
As a proof that this state of mind
was genuine, I will add that / never
once doubted that 1t could be done. l
had too true a belief in my own gift to
permit of thinking and feeling other
wise.
Il and I used laughingly to al
lude to my constant round OF theatre
going MS my "Night School, can
only hope that other scholars at their
night schools are able to derive as much
inspiration from their studies as l did
from mine. All my work at the studio
and I am not unmindful Of lis
many valuable hints, nor ungratefui for
the constant help he was able to give
me---all my hard reading could not have
taught me the great lessons that l
learned from watching the acting OF real
artists.
If we're asked to say which one OF
the actors / saw taught me the most,
would find it impossible to answer the
question. From Grace George and John
Drew I first learned how polite comedy
should really be played. From Juna
Marlowe learned how Shakespeare
should be read. Mrs. Fiske and Mans
field also taught me much. But the two
artists who made me realize most com :
pletely what a tyro / really was were,
strangely enough, two, no word OF
whose language was / able to under ,
stand, namely, Sarah Bernhnrdt aho
the Italian actor, Noveli.
When l think how nearly I came to
not seeing either Of these great artists
l positively shudder! Again. l am in
this wonderful opportunity. Novel;
was to me quite unknown. But who
has not heard of Sarah Bernhard?
felt an interest. perhaps it would b'
more accurate to say curiosity, tt
see her, of course. But the thought
that l would be so handicapped by my
ignorance Of the French tongue had KEEP
me from going. I felt that. in the cir
cumstances, she could teach me little
and I sternly resolved not to yield II
the temptation to crafty what was
! after all, more of curiosity to see thu
woman, than desire to see the artist
| During luncheon hour, one Of thu
days when l was busy at the studio
| H said to me:
"I suppose, now that the grea
Frenchwoman is here, you have entirel.
abandoned the native drama?'
| "Oh, no." said. whats the use
I wouldn't understand a blessed wor'
that she was saying"
He gave one of his queer smiles
which / had come to know masked
hidden meaning.
! "Somc one once said that Sara
Bernhard would be able to act as Ion
rs she still had the use of her arms
think I'd go to see her once, II
were you. I'm sure you'd not re
gret it."
IF you say So" I smiled back.
The very next evening found me !
the front row of the dress circle.
1t would be futile for me to try to to
you what impressions | carried hon
with me. To say that l was completed
swept off my feet. is to put it mildly
! had q sense Of complete bewildermcn'
l felt that had never seen acting be
fore. Her grace. her charm, her won
derful voice. l had heard and read {
them and Of the magic of her per
sonality. But nothing ! had read hn
! prepared me for the reality. ! confe'
that it was only after ! had seen ht
number OF times that ] was able,
sense. to judge of her as an actress
TINT is to say, was so carried ava
by her wonderful art that l forgot I
study how she made her points, pre-
duccd her effects.
What would ! not give to have SEQ
her in the heyday of her youth al
beauty. That thought often came to III
mind.
Still. I am not at all certain thu
the serious student cannot learn MOI
, now from watching Nine. Bernhardt.
her old age, when her art is her great