Evening star., 1921-12-11
BY e. H. SOTHERN.

r READ an article the other day
j about some Mediterranean players.
The writer was enthusiastic because
| the actors performed without premed-
litation-an action was spontaneous
and he waxed especially voluble when
the leading Thespian suddenly bit the
lady playing opposite him. This, the
critic declared, was truly astonish-
ing, thrilling the expectant audience
in a superlative degree.
Perhaps the spontaneous lady who
was bitten was astonished too. With
out doubt, to simple minds there must
be an element Of delight in these un-
expected paroxysms. The uncertain
ty as to which of the artists will be
taken with the next fit keeps even
dull people on the alert. There Is
something of the bullight about it.
Wake me up when Kirby dies & dl.
rected the ancient gallery boy. But
those who favor the Mediterranean
must cry, Don't let me sleep what
ever you do" With US, however. who
have not reached spontaneous excel
lence, the chewing even OF scenery
has been allowed to be reprehensible
and the chewing Of actors II yet s5-
We have much to learn. ~ the
critic very kindly pointed out Our
careful preparation. our study OF
what the poet intended and the mar
shaling Of our poor powers to deltv-
or his message with skill ana pre-
cision and concerted action denote .
certain feebleness Of intellect and .
sad lack Of Imagination. To walk
upon tho stage with ones mind q
blank as to how one is about to pro-
ceed. to have arranged no plan Of
campaign at all. to leave to the ext
gencies Of the moment. grouping. be-
true "art"-a word which originally
meant Skill in joining or fitting" but
here means having fits whenever one
A story is told of a small child who
wearily asked his parent at Coney ls.
drunk. fatherT Must not this be
ones mood at the exhibitions Of the
spontaneous players?
Why is it wrong to think tho mat
ter out in advance, to use reason and
craft and ones sense Of the fitness OF
things, to compose with ones fellow
actors what each may do to illustrate,
What is so admirable in this acct-
dental process? 1t Is new. That is
all. 1t 10 Mediterranean and there
fore incomprehensible. It is foreign
and therefore to be wondered at. Ros-
alind says to Jacques in "As You Like
IT,: Farewell, Monsieur Traveller,
look you lisp and wear strange suits;
disable all the benefits of your own
country: be out Of love with your na-
tivity and almost chide God for max
ing you that countenance you are; or
I will scarce think you have swan In
q gondola."
There you are. It is this desire to
be reputed as having swan in q
gondola" that makes people praise
this sort Of thing. Premeditated art
is the true art. and, admitting that
acting Is indeed an art, the way to
go about 1t is to arrange everything
in advance. However, the commits
sioner of income tax in England pro-
nounces that acting is not an art at
all; that to be an artist q man must
originate; that the author originates,
! but the actor merely reproduces; that
he is, not an artist. therefore, but an
artisan-that is, "one trained to man
ual dexterity in some mechanic art
or trade" Here is matter for an
idle hour.
Miss Loie Fuller teaches her girl
pupils to illustrate in the dance any
esns ses@s ssm aa the
dancers proceed. but all tho principles
of the composition Of groups. the
manner OF expressing each separate
emotion, have long been studied and
perfected. So this dance may be said
to be new but not spontaneous. The
steps are premeditated. 'The skill in
joining or fitting is exhibited.
But then the dancers compose the
little play, so to speak, as they per-
form 1t. It is not thus with the
spontaneous actors, take it. Their
play was written and could be con-
sidered beforehand. It would seem
stupid not 80 to consider 1t. Well,
this considering how to do the thing
and the repetition Of the excellence
achieved In sQv doing beget In time
what is called tradition, the unwrit-