The Washington times., 1922-04-30
Elinor Glyn Gives
Movie" Aspirants
Some Home Truths
On Art of Film Acting
TY HE chances for the beginner
In acting on the screen are
immense: but the affair

in ACtiH8 Ou tno DChCcit ~
Il immense: but the affair
must be taken seriously.
No one need imagine that be-
cause he or she has q cookbook
ing face. which photographs well
in an ordinary wax this win en-
sure success under the moving
picture camera. even II . high
record In amateur theatricals on
the legitimate stage can b ahdsd
to Il.
Acting for the screen 10 an art
apart. and very good stage actors
are quite as often failures az the
amateurs.
The first step Is to have a pho
tographic test made with the
great white lights. or the Cooper
Hews< lights. in q real studio.
your face made up with the
proper colored grease paints. II
you do not look well people with
pale blue eyes never look we'll.
for instance) then II 10 no use
In going on-but II you do pass
the test then the next step IL to
practice in front Of a mirror to
see II you can express without
words every emotion.
Do not deceive yourself; be your
own hardest critic.
Then when you feel q little
more confident ask your family
or some friends to watch you and
tell you what they think you
mean to show them.
1t is quite useless just to make
the muscles Of the face obey you
tho mind must guide, and the
emotions must come through the
eyes. IL they are to be really ef-
fective. That is what Is the mat
ter with q large number of the
present screen actresses. more so
than the actors. Tho spirit sell
dom seems to DO coming through
the eyes; their beautiful. young.
round faces are Just like dolls.
MIRRORS OF EMOTION.
Take . cat as a model illustra-
ton Of what I mean. Its mouth
never moves, and yet every
known human emotion. except
those connected with divine sxai.
tation, or unselfishness. show in
tho eyes Of 4 cat-rage, fear.
contempt. resentment, lazy enjoy
msnt. perfect physical happiness.
passion. love. hunger. revenge.
cunning. insolence. pride-ths pu-
pills dilats and contract, the lids
marrow and opsn vida
Tho cat IL feeling these emotions.
and fts eyes are its medium OF
EXPRESSION So that the screen
aspirant must endeavor to feel
the snotions he or she IL endeavor-
ing to portray, or tho effect will
be simply mechanical
A good plan IL to cover the nose
and mouth with q scarf. and then
practice with the eyss alone, In
front of . glass. Actions have to
be rather slower than ordinary act
ing. When words have to be
spoken in given . title, care must
be taken not to grimacs or draw
the muscles Of the facs or throat.
And. above all. perfect natural
ness IL essential. and no suggestion
Of consciousness Of tho camera
To get into the pictures" IN
Hollywood. the centcr Of tho indus
try In America the young man or
woman has to 80 round and regis
ter at all tho casting agencies,
stating capabilities, type and
height, and the first experience on
the screen viii BE- as an extra"
playing in atmosphere-that Is,
just one OF crowd. The woman's
dresses are provided: tho men have
to provide their own. 20 a good
wardrobe is essential to make q
start for a man.
RISING FROM THE MASS.
II the foregoing preparation has
been gone through, and there is
natural talent A. well, very soon a
director will be likely to remark
tho extra who Is doing his or her
action we'll. and the next step is
being selected for ''bits':-little
scenes which register the person
apart from the crowd. After that
come small parts. not yet with the
name on the screen. and then
comes the moment when screen
credit" IN given, which means the
aspirant sees his or her name be-
meath the characters.
- After that the rise is rapid IL
there Is any grit and any talent.
But only q few seem able to do
well enough to merge out Of the
mass, and extras go on being extras
year in and year out-probably be-