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Art of Artittg
WotkB
The
Voca
Art
of
bjj
J. HHarkag
Acting
Gymnastics
Emotional
Analysis
of
The
Shakespeare's
|
Dramatic
Characters
(In
Preparation)
If ^
Art 0f Arttng
8
3. 3. Harkag
lEmbraring
I|0 AttalgatB
0f iExpr^a0t0tt
iramattr Sltt^ratur^
3F.
J. jHarkag
44ti} i^trert
23 MttX
laia
COPYRIGHT.
191
BY
F. F.
MACKAY
(HcnttntB
4
9
.
Introduction
11
14
25
63
The
Passion
^Emotions
Definitions of
67
83
Z^xpression
94
96
Utterance
Voice
104
119
Force
Stress
137
156 173
Time
Drama
246
261 278
.
289
331044
O my
Edward
My
corded
sons, in this
volume you
observations resulting from fiftyfive years of study and practice in the Art
of Acting
my
is
the only
legacy I
am
have
a hope, almost a
you, starting
upon a higher plane of general intelligence, and with a clearer conception of art, may
achieve a richer harvest of those "rascal counters'' by which the world still estimates the value of the man. But while struggling
for existence, love and develop art.
The ap-
probation
won by
always honest; and the friendship gained by art is always true. The true artist finds in
his work a satisfying pleasure which the mere money hunter never experiences. The
arts,
doing as well as the contemplation of the fine always begets a restful condition of the
that
mind
its
may
piness.
And,
resting places
those
all,
what
is life
without
t
plains of strife
Art 0f Arttns
moments when the mind may cease perceptive work and reflect. The preciseness of mathematical calculation does not seem to harmonize with the qualities of mind that make the most successful developments of the fine arts, yet I
those
would
knowledge
sum
of
sary for the preservation of personal liberty and the dignity of freedom. I would therefore advise you to bring your learning in
mathematics
taining the value of your art, that you may not be merely the servants of buyers and
sellers.
gating the truths of this each and all greater success than has fallen to my lot; and with the assurance that none is less happy and some are happier because I have lived, I am
Your
affectionate father,
F. F.
MACKAY.
SnttBhtxttixin
THE
The
Omall
niscience
creation.
The exponent
is
of
Art.
and a knowledge of
her ways.
The
ture,
to
scientific
mind
Na-
and the
intellectual
man
listens
with delight
The
greatest
mystery
Nature
is
We
know nothing
com-
parative knowledge
fancy
flies
moin
UUft
imagination
Art 0f Arttng
bring a true theory of that
things that are, to be.
find pleasure in imitat-
may
love
Power
that bade
all
Men who
The
Nature
sions that
sician
his
strives to
upon
his ear,
;
and
colors,
him through
The
basic principle
is
the
mimetic power.
All
herit
men
all
men
in-
The
work
is
to present a
method
who have
the inherent
work
Sntx ixhnttxnn
This
is
a subject that
all
the attention of
lovers of art
and,
if I fail
to
13
lj^
Art 0f Arttng
THAT
in
in
1828 published
London
several Indian
five
said to
among
recommend
it
culture
is
among
all
enlightened nations.
Actit
ing
is
and because
it is
I}^
and best
Acting
is
Art 0f Arttng
influences
civilizing
of
the
world.
it
all
who
study
it
as an art.
more general
of them.
attention
either
The
^^^
painter
He
bodiment.
He
he begets motion
sympathies he awakens,
for or
That the
it
the
power of self-preservation
fault
art.
breath.
and
it is
gone; but in
passage
18
it
Ifj?
Art 0f Arttttg
to despair;
art, it
makes man
for-
Shakespeare says:
"Reputation
sition,
is
an
idle
deserving."
Perhaps
to
no
this quotation
more
dramatic
artists.
It often
due entirely
of private
life
may
yond
their
dracall-
>*
Ij^
But
fession
if
is
Art 0f Arttng
who judge
without
without
comparison
is
and
pronounce
thought, so too
man
espe-
moment,
are ready to bestow fame and favor upon the representative actor, quite unmindful of the author
and these
auxiliaries.
make
often
fall
may
diction
that no
in-
If^
telligence,
Art 0f Arttttg
in
making a great
and
it
quite
unknown
in a single evening
There may be
and Booths on
there
one Lear, or
may
All actors
may
be
artists,
cannot
in the
same
play, at the
same time
for
it is
favorable light.
in
every picture to
and
it
after
all,
SIIi^
Art 0f Arttttg
upon
artists,
A good looking
man"
in
a stock
company would be
"mean
sort of a fellow
anyway."
This
effect
more
Indeed there
is
labor
drawing
just conclusions
upon any
art,
and
how much
formed,
is
the public.
But
it
may
not be inopportune to
22
Wift
Art nf Arttng
if,
like the
situa-
made by
the author.
If criticisms
were
result of reason
outburst of an impulse
ances; for true artists, finding themselves appreciated for their art,
would be content
of
remain
the
sit-
"Starring
Country" to appear
in
"tremendous dramatic
With
just discriminations
on the part
would be
applause be-
One
is
of the
it
bad
applause
that
tirely
away from
and
to
in presenting his
Sij^
Art 0f Arttttg
which
is
own
personality,
though
it
work
to the idiosyncrasies of
24
HJIjat
XB
Arttng?
3(b
tt
an Art?
mijat is Art?
A
^
VERY
"Art
still
larger
Now
an
artist,
may
be some doubt
correctness.
shall we, then, define art?
How
tion.
Let us seek
Two
Art
is
words
in
creat ed
and Art
is
*Coquelin.
If^
Art
is
Art 0f Atttng
is
ever decaying.
Everything that
man
finds here
he
calls
Nature.
calls Art.
Nature
created.
Art
is
made.
To
inal sense, is to
bring forth a
something from an
while to make,
already created.
is
invisible, intangible
nothing;
But
to re-arrange
that
is,
to
make
demands a
Under
this definition
two
species based
distinctive
causes,
The
and physical
of the animal
at t0
Arttng?
come
into
existence.
As
thus:
Suppose two
office
of a
any doubt
all,
or would
we
intrust the
work
to the inexperienced
man
of
thirty,
who
is
is
The
result
answer
obvious.
The
fine arts,
which
from the
pressions
efTort of the
mind
of
nature,
artist,
actually
develop
and
strengthen the
thereby happiness to
who
are permitted to
The
been
power of a people
the limiting
It is
power of
highest civilization.
merely a matter
27
Art nf Arttng
To
and
taste
the
theory of
may
be attributed
much
of the indifferent,
among
cultivated
but
it
and nov-
who believe
a quality
itself in
common
in
human mind.
It
shows
the love of
domination.
The
man"
he
to
whom
the
own
destiny
own
personal achievements,
of his ancestors,
him by
his admirers,
who
lived high
up
in the
family tree.
28
at ta Artittg?
Egotism
eral
unquestioning
belief in self
is
lib-
It is,
many who
live
by the exhibition of
little
theatrical performances,
that so
attention
is
by the public
in general
and by the
it is
critics in par-
to be regretted
who
pose than that which moves the merchant to present his wares for sale
of money.
Well,
is
all
he can
or an art?
Undoubtedly.
less
But the
theatrical
manager has
his
merchandise or to
damaged
The purbefore he
may examine
must
Slf^
This
line
is
Art 0f Arttttg
of
consideration
as
mere
traffic
in
the
it.
who
deal in
any truth
said
:
philosopher
who
owe
it
may
be as-
that there
is
Taste
is
may
its
be inherent
is
and
it
may
be cultivated and
function
to
it
or to reject, for
own
gratification.
Taste
is
in physical force.
sits in
judgment on
the exterior
its
and
and
services
are
just
as
necessary to the
30
Ulfat XB Arttng?
acknowledged arts of Poetry, Music and Painting as to the disputed art of Acting.
All poets,
them
will
admit
merely
taste.
Feeling
life.
is
common
to animal
It is
a faculty in
no one
relies
except
his
is
impressions
judgment
to bear, or
have
made by compari-
sons.y/Feeling
human
surroundtherefore
It is
in^pi^Feeling
is
prompt
to the
doing.
proper direction
may
whose advancement
controlled
ist.
it
is
may make
a result of misdirected
feeling.
Shakespeare says
"The purpose
31
of playing,'*
Ij^
that
is,
Art 0f Arttttg
and now, was
and
by imitation
is
to hold, as
**to
show
virtue her
own
fea-
own
his
makes
something.
mental conceptions
It results
Acting
is
therefore an art.
of Nature.
It is
Acting
is
therefore a
/
'
senting
human emotions by
a just expression of
arts.
Acting
is
an
therefore, acting
feeling.
is
and
And
as genuine as
would nec-
Mlfat t0 Arttttg?
selection of this or that kind of color in
arranging
that
quality
of
music for a
is
An
ent,
emotion
is
imoutall
pression,
and
expression
the
come
in voice, pose
and gesture.
In nature
of an emotion
is
presented.
sensation
may
force,
arif^
Art 0f Arttng
on the part of
may
may
be cited
two or three
actors
them
to
The
who
an emotion, actually
feel
Now
to the actor.
The
if
he
feels
Nor does
miiat ia Arttng?
low notes
in his compositions
Nor do we ask
cause he
is
No, we
at-
word
pic-
and
line
and
color pictures.
So do the signs of
distress manifested
by a
from
prompted by
self-love struggling,
through
Earnestness
is
Earn-
what ?
Is
it
pos-
Mme.
?
an imitation
'tis
a sham
Mme.
is
Yes,
true
and no a
pity
true
B.'s Camille
solid,
is
good,
earnest work,
the joys
35
Ij^
Art 0f Arttttg
when she
plays
it.
is
so great
Now
suppose
Mme.
weeks
a long stage
little
People
who
are
is
fairly
down, would
home. No,
probably be a
Mme.
knows
But who
for
the audience
whom
is
Mme.
B.'s
performance
acting,
nature.
Who
is
this
apparent suffering
not reality?
So much the
ated where
better.
True
known.
art
is
better appreci-
it is
well
are,
Well, here
we
ning
is
just preparing to
go
know
very
this scene is
am
always
much
so do have
off,"
something to refresh
Jane
replies
:
me when
I
come
and
Camille says:
will do, only let
it
"Yes,
think so.
Yes, that
be very cold
I'd better
have"
:
Here
"Curtain's up,
Madame
flies to
The
scene
progresses
Camille
and
a
chats
with
Mme. Prudence,
Nichette
Gustave.
She
Armand,
that
is
making her
life like
dream
of happiness.
in simple
summer
dress skip-
fields,
37
aijf?
Art 0f Arting
in the sim-
like
summer sun
casting
future.
He crushes
He pleads
his son's
and for
He
Armand
well to
farewell forever.
Armand!
He
and
He
exclaims:
Then
itself in
"And you are happy, are you not ? And when you recall, one day, the little proofs of love I have bestowed on you, you will not despise nor Oh do not, do not curse me curse my memory. when you learn how I have loved you I"
"But why these
tears,
Camille ?"
See, they are
"Do
all
gone
ing.
Ah
I will live
I,
again.
bee,
too,
38
Hljat ta Arttns?
your father comes, and think of me for I never cease to think of you! Adieu, Armand! Adieu forever!"
until
shall
;
tea,
''Oh
You
stupid thing
I told
you
to give
me
a glass of lemonade!
I don't
want cold
!
tea!
IVe
told
There, there,
away."
And
Madame
from ex-
and
who
ready
to re-
if^
final death,
An
of Arting
Dumas
says the
feel-
Then,
too,
and sorrows of
Camille,
Mme
B. should also
death
for
if,
in
is
absolutely necessary to
the artist
is
how can
scene
of
she represent
the
death
In
upon
feeling or
illustrating or portray-
how can
death?
how can
40
mifut XB Arttttg?
the true artist represent Camille's death without
herself dying?
in order to live.
dramatic profession
to recruit from,
all
that
the emo-
And when
ation
of feeling,
it
was
the outcome
may
being
who must
an acknowledgment of
ig-
And
judgment can truly portray the dramatic creatures of such a writer as Shakespeare, or
41
any
Ij^
Art 0f Arttng
attempt
to
by the public
in order to
make
the auditor
the orator
is
and
presenting.
illus-
The
fallacy of this
argument may be
trated thus:
The farmer
springtime.
the
When
and plucks
it
up
to get the
To
farmer takes a
with
and hangs
it
up or stands
it
up
in the
cornfield.
flies
The crow,
away.
flies
May we
crow
away because
42
feels
fear?
What
at XB
does the figure of the
in the
Arttng?
feel that
man
produced fear
perfect the
crow?
Nothing.
The more
Now
add
and the
tone, pose
and
of acting by feeling
matic composition
is
opment of
all
make
human
intelligence.
And
The
it
takes
its
its
position in
liter-
among
proudest
ary achievements.
history of Greece
and
Rome
in ancient times,
land and
Germany
in
modern
warrant
the position.
At any
rate, the
dramatic works of
in the scale of
hundreds of com-
mentators have wondered at his beautiful congregations of facts, fancies and philosophy, while not
43
^ift
Art 0f Arttttg
have tried
who through
his
accumulated
men
of his
it
Whatever
else this
may mean,
cer-
of dramatic writings.
And
can
it
be possible that
works
which
is
bine to
make up reason ?
writer
is
The dramatic
vidual characters.
a constructor of indi-
He
human
ficial
Hamlet,
Macbeth and
Othello, Ophelia,
Lady Macbeth
mental form-
ation
Hlfat iB Artittg?
duction by the students of sculpture or the plastic
art. It is true,
perhaps, that
among
The
actors,
no
characteristics in
Hamlet.
differences
result
from any
change
Hamlet himself;
of that
^the
constructor
character
been dead
now
But
doomsday.
made
their studies
from opposite
feeling,
points of view,
right, so
do some actors,
to
to their
own
peculiarities, until
it is
no
longer the
work
maimed and
idiosyncrasies.
Whatever
it
feeling
may do
for natto
ural language,
power
lj^
phrases in
Art 0f Artttts
language.
artificial
And
as the works
among
achievements in
languages,
is it
not probable
more
truthful conception
it
Feeling
is
motor
son
if
in acting; but
we would
That feeling ungoverned by reason may produce results quite foreign to the author's intention, is clearly
shown through
by
The
dumb with
remorse,
the
down
lips
my
cheeks,
before
my
*Ristori.
46
at t0 Arttttg?
opinions
may vary
it is
about
part of
"Lady Macbeth,"
generally
an overpowering- depression of
self-love
when
tor-
settles into
a conre-
gain the
lost
the offspring of hopeless remorse, seizes the victim, paralyzes the mind, destroys
its
healthful
is lost,
power
ceases,
dies.
Through repentance
in
mind may
again be put
harmony with
live;
its
surroundings
we may
In
there
is
despair,
but no contrition.
that mental
gnawing
and
JSift
Art nf Arltng
do we
find a line
Nowhere
Look
in
King Claudius
"Hamlet,"
^acknowledging
On
Lady Macbeth;
for
when Macbeth
"These deeds must not be thought After these ways, so ; it will make us mad."
who watches
all
her ac-
cian."
And
48
at 10 Arttttg?
"How
"Not so
sick,
my
lord,
As
she
is
troubled
Then Macbeth
rejoins
that:
"Cure her of
Canst thou not minister to a mind diseas'd Pluck from the memory a rooted sorrow;
And
Raze out the written troubles of the brain; with some sweet oblivious antidote Cleanse the stuff 'd bosom of that perilous stuff ?"
"Therein the patient
Must
minister to himself,"
to themselves?
What
healthful
action?
Repentance.
sympathy from the world; and, through sympathy, pity for self
is
come
tears.
In honest
communion with
we
pity our
own
aUji?
Art 0f Arttttg
we may
And
woman
of
fine feeling, of
she pities
Lady Macbeth
a wreck of the
it
Lady Macbeth:
And when
Her
condition
is
is
not
therefore artistic.
If
you should go
to a lunatic
asylum
to see a
been
woman whose
50
physical beauty
Wijat IB Artttig?
and mental strength had inspired you with admiration,
and upon
this,
your
first
visit,
she
a shriveled
if,
instead of rec-
what
would
Undoubted-
you would
your
lost friend,
and
uals
and
The maniac
is
is
Lady Macbeth.
The
upon
sympathetic lady
the actress
who
acts
by looking
at Shakes-
and so pre-
of
Lady Macbeth.
And,
51
thus,
through feeling,
Ij^
Art of Arttttg
robbed of one of
its
most awe-inspiring
ance.
effects
practically false to
clearly
may be
shown by
if
field sports.
He
returns late
to take
up
his
work
As he
and
''By Jove!
It
don't
fear-
thing to-night.
to stay so late,
this thing
was
I
fully stupid of I
me
when
know
once more."
He
and discourses
and the great beauty of the game he has witnessed, until the call boy's voice
is
heard anstarts
up
with "Well, I must get ready; and to say the *The bad condition of
the stock actor's dressing-room.
52
at ta Artttis?
truth, I feel as stupid as
an owl!
But there
is
come down."
Then he
his
dresses for
in
the character
straightens up bodytakes room a long breathwalks up and down and, or behind the scenesthinks over
in his
his lines,
having aroused
sufficient
force of determined
mental action to overcome the relaxation resulting from the fatigue of the day, he begins to concentrate on the illustration of the character, with
all its
mental weari-
much
nerv-
or,
from the
unexpected
illness of
one of the
a bit like
it
to-night
I"
ments of
facts,
the
character;
53
and
egotism,
ailj?
Art 0f Arttttg
by re-presenting emotions,
is
a special
is
But
the theory of
and of the
six
Now
And
let
sensations that
Lady Macbeth
felt.
Then
at the
lost
end of the
first
How
^
play the
all
neces-
sary force?
And
if
we were
to
the night before, she would not die at the end of the run of the one hundred and eighty nights, or
54
WJfat ia Arttng?
six
months and
;
so,
line
as
Lady Macbeth
Then,
if it
felt?
what should he
an
artist
feel
like?
He
should
feel
like
who has
judgment
in re-
made by authors
actor
of dramatic compositions.
cultivated
The
must have a
mind
to ar-
tences of an author.
He must
have a trained
the
We
mental conceptions
resulting
from such
analysis.
know
that acting
is
is
we know
that doing
55
I}^
Art 0f Arttttg
being discharged.
re-presenting
human
made known
artificial
which
they
present
themselves,
must
be
to
is
In nearly
all
to
technique,
acting
is
all
with a good
Mljat 10 Arting?
voice and brains act 'Hamlet?'''
its
is
assumed by
This
is
in
first
place misleading in
all
its
assumptions; for
IS
not asserted by
is all
professors of dramatic
technique.
And
again,
it is
man
By
mode
is all
"If singing
technique
why
can't every
woman
?'
with a good
racing
is all
technique,
why
a simple answer.
Every
is
a standard of
cannot reach.
And
every
57
man
Qllfp
Art nf Artittg
act
is
he does not favorably compare. This analysis shows a defect in the question.
{/
There
is
skill.
To
may
be thus stated:
"If acting
is all
tech-
nique,
why
cannot every
man
to the
same standard
It is
man
with a
act
"Hamlet."
But
is
an
art.
Art
is
always
through muscular
action.
the imitative
quality
human mind, and the history of individuals that make up the group of dramatic
the
man
58
Wlfnt XB Arttns?
and brains,"
are no two
will confirm the statement that there
men
Conse-
mind
be of equal force in
all
voices
and
and deduce
is
all
in all
men
and
lar
quality,
all
and brains
is
follows that
will not pro-
voices
and brains
Therefore, although
voices
all
"Hamlet,"
because
men
man
If^
act "Hamlet''
lence.
Art 0f Arttttg
to the
up
same standard
is
of excel-
The
technique of an art
the formulated
result of a
conception.
coming
from
differ;
is
not, in all
men with
impressional force that makes, at once, the impression and the resultant, which
when
it is
re-
called technique.
many
is
forms of voice as
of environments,
it
is
art of elocution in
tation,
its
and
acting, as
would be
to object to the
It is
not im-
at XB
Arltng?
But "nothing
specialty except
by a deliberately system-
Genius
is
There
is
a science underlying
is
all
truthful act-
w/
an
art.
it,
As
a science
it,
it
sects
arranges
As an
art
it
puts into
artificial
the appropriate
natural and
The word
"emotion'' and
its
derivative "emo-
and
im-
and
yet, so
We
hear of
Slf^
Art 0f Arttitg
What
tion that
point,
is it
is
the ques-
the passion.
62
erally believed
fliction of
by
all civilized
peoples.
The
in-
may be
taken as the
And
all
upon the
suicide
its
in-
however
its
wanderis,
ing, in the
moment
unsound as
to this law.
63
Ij^
Art 0f Arttttg
be assumed that mankind gener-
And
so
it
may
law of self-preservation.
And now we ask: Self-preservation for whom ? We find the answer in self-love, that inherent principle in our nature which
to all
is
common
animal
life,
and
is
just as
much
a necessary
is
form.
Self-love
And
human
tion.
if
self-preservation be a
first
law of na-
motor to every
action
is
for
it is
This
;
human
reason
wander beyond
may hang
their
arguments upon
aiming
at
I shall, in
man.
the
Through
first
desires of
men.
64
It is
common
to speak
ment
It
results
from ignorance.
;
and
filling
of the world.
"Do unto
for in that
the
rule of life
dom
of the world.
find self-love not only admitted as a
life,
Here we
principle in
tice
between
If
knowledge of arithmetic,
and
cents,
might we not
now have?
Self-love
is
life,
and
Ij^
Art nf Artitts
While
high-
action
may
it
elevate
mentality to
its
est flights,
It
the body.
Self-
outcome of
we
many
other
names describing
all
gathered
selfish-
Selfishness
is
given
off.
It is
animal in
man
human
in-
make
able
and happiness
possible.
Self-love
Selfishness sees
no ego but
self.
Selfishness alSelf-love
is al-
ways
ways
it
may
justly receive.
66
lEmnltntta
by men
much
meaning and
Some
words "passion"
entirely
if
they
dif-
the
make
their
meaning more
explicit
by defining them as
67
Sfijf
Art 0f Arttne
real
meaning
to
word
"legitimate/'
legitimate drama.
And
who
Lady Macbeth
as a
who
enacts
called
an "emotional
but
little
thought to
know
that the
Happiness
the
first
desire of every
human
Those who
believe in a future
life,
fail-
final
hope
atheistic materialist,
whose mind
iEm0tt0ttB
termination of
life,
Self-love
is
the
first
active principle of
life,
in
first
The
passion of the
human mind
is
ever
to seek happiness.
Self-love
Unself,
which
is
a static condition of
re-acting
self-love
is
always
active,
upon
self
and, by reflection from the alter, bringing happiness or unhappiness to the ego.
Self-love,
being
in
its
an individual
force,
physical
piness.
toil
and mental
strife that
man
calls
hap-
Self-love
is
it is
an indisputable
first
fact in nature
is
the
Upon
t
proposition,
it
Art 0f Arttttg
to lead to the conclu-
would seem
animal
selfishness.
The
and
shows that
this is true,
all
your
that
is,
undis-
law that
self-preservation,
which
is
ego
may
enjoy happiness.
life.
Happiness
the aim of
man's
Every
circumstance
every
environment
its effect
through
muscular
call
system,
presents
It will
exterior
signs
which we
emotion.
70
an emotion
sensation,
is
made up
expression.
human
hereIt
Self-love
may
be called a
it
might be
motor
the
first
to every
human
action.
pressions which
suffers,
and
it
expresses
its
we
name
These emoin
is
benevo-v
:
For example
its
Joy
action,
claiming
exterior
its
gratification
and
satisfaction with
circumstances
past
71
or
present
envi-
ronments.
Anger
is
malevolent
emotion, tensive in
its
lj?
Art 0f Artiitg
and elating
to the mental
Hatred
volent in
in
is
malevan-
its
downward
Jealousy
inflection, as if
is
seeking emphasis.
anger.
in the pro-
and
moment
quite inde-
pendent of the other; and the wreckage or destruction of the affected being will depend for its
tion.
Jealousy
is
no dominating judgment
to direct or to ex-
Jealousy presents
In voice
it
itself
ever-varying ways.
runs through
degrees of
all
At
other times
it is
silent as to voice
and
shows
itself in
and depression,
love
from
jealousy.
Though
in
and anger
quiet,
may
seeming
when
sill?
Art 0f Artttig
is
an abto
know how
medium,
this
his
Perhaps for
purpose a partial
of emotions
and phases
may
be of service.
Benevolent Emotions.
Joy Merriment
Gladness
Mirth
Cheerfulness
Happiness
Desire
Hope
Grief
Sorrow
Melancholy
Gratitude
Pity
Penitence
Love
Tenderness
Friendship
Mercy Sympathy
Fascination
Admiration
Infatuation
Confidence
Malevolent Emotions.
Wrath Envy
Enmity
Vanity Impatience
Hate
Suspicion
Jealousy
Irritation
Pique
Pride
Indignation
Anger
Vexation
Chagrin
Humiliation Terror
Remorse
Suffering
Shame
Bewilderment Fear
Horror
Fright
Dread
Awe
Amazement
74
Wonder
Surprise'
Astonishment
iEmotinnB
Tensive and Elating Emotions.
Joy Merriment Expectancy
Gladness
Mirth
Desire
Hope
Confidence
Indignation
Irritation
Wrath
Vexation
Anger
Impatience
Jealousy
Hate
Suspicion
Envy
Vanity Fear
Pride
Terror
Timidity
Wonder Amazement
Dread
Regret
Awe
Remorse
Sadness
Sorrow
Despair
Melancholy
Shame
Mortification
Humiliation
Penitence
Despondency Chagrin
Contrition
Restive Emotions.
Love
Gratitude
Mercy
Friendship
Pity
Cheerfulness
Sympathy
Qualifying Words.
Rapture
Ecstasy
Fervor Enthusiasm
Buoyancy
Exhilaration
Violent
Rage
Fury
75
ailj?
It is
list
Art 0f Arttng
is
a complete
of the
words
in
few words
will
Of
warp
all
the
emotion
of song
called
"love.'*
men
ings.
cial
change and
and sup-
What What
as
is
is
is
love
it?
is
to
mind
bears
Its
highest development.
the final scheme in the indi-
Whatever may be
viduation of
are forced to
Self-love
is
is
equally strong in
constantly striving in
76
This
restless long-
Something
is
wanting
repose.
And
woman
est
man and
the high-
we
call "love."
man.
And
is
know
when two
the
two as
is
one.
Love
ture
in its na-
and unlimited
led
It
may
be trained
and
by
social laws
but,
when
society seeks to
check
its
course, love
mocks
at precedent
and
rule,
is al-
ways
soft,
How
beautifully
is
"How
silver
night,
11
If?
Art 0f Arttng
and yet
is
love.
many
orotund quality of voice, and seeking approbation for personal qualities, rather than for artistic
tory force,
making
it
dramatic
but
artist
remember
that
we
we
heard
in
and Miracles.
in qual-
ity of voice,
and sameness of
by reason
of the constant recurrence of these factors at certain given intervals of time, are not always the
They
sire in the
ego of the
This defect
is
commonly described
voice.
as being in
is still
own
But there
an-
sound.
sistant to
memory.
the en-
tire cessation of
sound
in
and change of
fill
inflections
make a chasm
mind
word.
will not
the action,
Clever artists
up the accident
bridge
to
mem-
others
;
the space
fill
novices generally
slips of
repetition of
words already
is
By
mem-
There
is
kind of
>
crescendo and
79
diminuendo
iHtit
Art 0f Arttng
its
movement
We
With
all
themes
of tenderness
friendship.
light force
And
voice
is
facts in a statement
by im-
the
listener,
sometimes
loses
re-
The mind
harmony with
the speaker.
And where
the speaker
gifted with a
good flow
of language, a
80
and
is
often
men
into spasms,
power.
These
in
no place
is
to mental
equilibrium only.
Every word
in a
dramatic composition
is
the
and
if
it
be true that
we can and do
meaning,
principal
and subordinate
clauses,
is
only a
means
would record, of
If
and
in their place?
we make
this
memories of the laws that govern the construction of the written language, then does
it
not
fol-
if
one's
memory
be
filled
ailf^
Art 0f Artittg
we
be correct?
in
expressing
factors
of
expression
that
present
we
never
know
their
true value,
until
we
82
fl^ftttttt0tt0
0f
lift
^ttiiniqnt
nf
TN
^
language,"
used.
The word
nary
"just"
may
as
be taken upon
its
ordi-
interpretation
meaning
"correct,"
in its origi-
word "expression"
means
means
language as to present
to the
mind a
true physi-
What
ficial
is
is arti-
language?
is
Natural language
made up
83
of the tones of
lf?
the voice with
all
Art 0f Arttng
the variations of
modes
of ut-
and
language
made up
of the
cause
Written language
is
it
is
made.
shall
We
mean.
must
study
it
and agree as
to
what
We
years
pre-
language.
It
is
not a great
many
since the
word
"telegram''
Previously to 1853,
we
American
life,
and
so, as
soon as
we
could agree
84
irfittttf0ttH
upon
it,
way
to the
word; and
after this
grown
so rich
articulating organs.
we
write the
word "pain" on
the blackboard
to interit
The Frenchman
means
it
us that
means "physical
distress."
to the
mind
of each na-
agreed upon.
Words
as
we
made up
of ele-
gener-
but
tSkt
Art 0f Artitt3
number
of elementary
sounds
is
not so harmonious.
Some
writers on
this subject
into
Even
if
we admit
it
will be
number
of elementary
This
characters for
the
presentation of
language; and
it
a small percentage
people.
The
French readers
find in the
or paper they read, signs placed over the characters that give the exact
we have no
stand
for
different
sounds as thus
of things
is
This state
who
seek to
know our
language.
86
However,
this
is
purpose
the.
sounds as
we
the question,
terized ?
why
ought to
The
ing,
I
is
am
compounds of a
lesser
number
of single
sounds.
made
is
in
com-
as
we hear
it
in father,
And
the sound
is
made
of
made up
a sound that
only found in
e.
itself,
or alphabetical sound of
di-
named
as to define
87
ij^
Tonic.
Art 0f Arttns
SUBTONIC.
b as in hahe
Atonic.
a as
a as
in ale
p as
t
in pipe
in
arm
all
d as
in did
as in tent
a as in
as in
^a^
^ as in kite
ch as in child
f as in fate th as
in.
as
in
and
j as in yo3;
z/
e as in eve
e as in end
i
i
as in vile as in then
tJi
think
as in ice
2 as in zone z as
/
s as in
^m
^/i^
as in fm/^
o/a?
in
a^wr^
lull
sh as in
/i
o as in
o as in
as in
as in hat as in
move
m as
n as
in
mar
wh
what
as in on
it
in wo^
as in tune
in w/>
r as in /ar
r as in run
u as
ti
as in /w//
in out
ng
ze;
as in sing
ow as
as in well
in yet
01 as in oil
y as
and
The
make
up the round
speak.
By
we
present and
68
ment
ics in
in speaking.
The
syllables.
The base
of
of
is
and boldness
of
our language
in substituting
and
all
in
the
words was,
in
for,
and,
of,
and
words terminating
government.
ent
patience,
This
very large
re-
away when we
member
that
men do
business and
grow
rich
upon
de-
To one who
make
of
As
89
SIj^
Art nf Artttig
and a
knowledge of
It is
their
this
through
may
such knowledge must certainly be a very desirable acquisition to the dramatic artist since in
his professional capacity he is frequently called
upon
characterization of foreigners.
However good
we
make
his
Frenchman without
effect in voice,
his transpositions
and nasal
positions
And
with
all
due
know
the cause
and
this they
cannot
know
unless the
No
artis-
ness in pronunciation.
and accenting
to
the syllables of a
dictionary.
word according
an accepted
may
be intelligently pre-
Any
one with
properly formed
lips,
teeth,
may
memory, may
To
is
to
to the dra-
for,
with perfection
in articulation, the
IH>
Art 0f Arting
effect, like
from the
may
atmospheric resistance
was aimed.
By
we hear
quiring of a
intrusion,
"What
didn't hear
him."
Of
in the
artist
and
The
artist
may
find excellent
and past
tense, of,
92
iFftnittntiB
any verb
in
our language;
e. g.,
"Thou
trou-brst."
'Thou
trou-brdst/'
"Thou
charm^st/'
"Thou
charm'dst/'
Correct pronunciation means simply the putting together of the elementary sounds into syllables
syllable of a
word according
In
all
dictionaries
the
and because of
lect for his
fullest history
to
the words.
The
To
be ignorant of a
dis-
puted word,
is
artist.
93
in defin-
"^
we understand
all
a re-
sult arising
from combining
the elementary
principles of artificial
which
effect
mental conceptions.
mechanism of expression, the absolutely necessary machinery by which the thoughts and sensations of the
to the sense of
hearing.
The more
more
But
whether
murmur
94
dissimilarity in
utter-
and the
inflections of
grammar and
the
transposition of
Grammar,
so
is
rhetoric
study of the
we
are to con-
we
are
that
is,
sensation as
it
appears
Through
logic,
the science of
grammar,
rhetoric
and
we
learn
we
acting
ters.
we
re-present
them
in
95
T)Y
-^^
utterance
we understand merely
the
mode
made by
the or-
gans of speech.
The
ef-
is
heard on
forms, at
all sides
all
of us,
and
in
knowledge of
it;
may make
its
peculiar dra-
is,
as a factor in expression
it
has
its
own
peculiar power.
96
TSitttv^ntt
Effusive utterance
It is
is
in short, voice
produced by
It is
Therefore, this
mode
of ut-
idea of physical
and mental
is
repose.
Expulsive utterance
tained mental activity
that
degree
of
mental
work comit
out
a more determined
mode
effort
of utterance ap-
argumentative pas-
sages,
or declamatory in force.
tion.
language of everything
impulsive, of
all
and
97
Uiift
ognition.
Art 0f Arltttg
of joy, the shriek of terror,
The shout
and mirth,
explosive in
though differing
in force,
are
all
becomes explosive
in utterance
when
The dogmatic
speaker
comes a
series of explosions, as
he were shoot-
is
the language of
men-
and
is
though not abrupt, inhalation, and prolonged exhalation in the expulsive mode.
The
sigh
tells
of
it
indi-
cal activity.
is
The
"Ah!" or
The
Sleep-walking
Scene, in "Macbeth,"
secutive
"O's,"
which
celebrated
foreign
98
T&tUxnntt
language, delivered as
tive sighs
if
although
says,
"What
As
well
might
the three
dramatic
mean
is
Sobbing utterance
expressed by
the sigh.
The
strain of weeping.
shows the
inability of the
mind
It is
made by a
The absence
whelming outburst of
The
opportunias are
common
the chances for studying the sigh, for the sob fre-
passed away.
The
99
if^
Art 0f Arttng
Romeo, as the conclu-
is
only play-
is
acting.
and
jumping
of short,
and running.
The breathing
is
made up
The
ac-
the abdominal,
is
intercostal
in tension
muscles
abnormal both
consumption of the
panting utterance
tress.
is
very violent,
it
The
stage
is,
TUtUvnntt
action might perfect.
this
kind of utterance
may be found
with
Juliet,
the
Nurse
in the scene
when, to the
of
old
woman
hastening
:
Romeo,
Juliet exclaims
"O honey
The Nurse
talks of her
weariness, her
when
what
awhile?
Do you
breath?"*
Panting utterance
is
much
This mode
of utterance
acquisition.
is
By
practice in doing
and
judgment
may
and
Gasping utterance
*Also the Messenger
is
made by a
long, slow
in
iSlit
Art 0f Arttns
abrupt inhalation.
exhaustion.
contraction
It
It is
seems
the
like
an intense muscular
retaining
the
for
purpose of
to escape in
an expul-
manner
;
at
first,
effusion
the will power had suddenly determined to live on, the breath
of
is
upon the expiring breath with a general diminution of force until the final cessation of the cause
more
difficult to ac-
because of
its
action,
and
not so frequent.
sique.
between us ?
I was,
Romeo,
I
thought
all
Mercutio.
Help
shall
me
into
some house
o'
faint
plague
your houses
103
Vnitt
^ M^ HE next
^
ered
is
Voice.
On
this factor a
volume
subject.
effect of voice
I
shall
application to
acting.
either
might
always seem to be an
is
artist.
But the
actor's art
when
the
dramatist
compelled to
fit
all
of his dramatis
an accomplishment by some
its
the writer
may
be
money
for the
manager
form of
is
also
and
The dramatic
author's art
is
"To show virtue her own feature, scorn own image, and the very age and body of
time his form and pressure," in
her
the
words so arranged as
to present
and resemblance
ture;
and the
actor's art
is,
is
if
there be
no physical
able through
105
If^
Art 0f Arttttg
do not
re-
member
tility.
to
Voice
is
always made
in the
in themselves
merely muscles.
Upon
will
depend
voice.
Upon
of the
column of
will
mouth,
depend the
As
vocalized breath
Now, while
the
we have
all
e, g.,
A man will
talk of
one
ration
them.
But perhaps
all
is this
or that effect?
Why
and
lies
The
Voice
answer
is
is
plain
before us as thus
pressions,
result
we
may
like
in the expression of
an emotion
governed by
present.
in nature un-
The
we hear
may
be divided for
dramatic purposes into three qualities agreeing with the place of principal resonance, as:
Head
JJljj
in the
Art 0f Artittg
the chest;
et
rotundum, because
is
in the
mouth.
The orotund
is
in reality a
combination of the
is
not
largest
down
into the
pectoral.
The
resulting
from proper
organs,
is
human
voice.
To know
know how
and
to
to
make
is
someis
this
knowledge
knows
may
properly apply
them
in
author.
The Head
er,
tone, because of
its
its
penetrating pow-
and because of
susceptibility to
smoothness
108
and
situations
power of
overwhelm by
fore,
The emotion
love,
and
all
joy,
The
outburst of anger
is
and through
The
shriek of terror,
may
The head
the
every
day
in
local relations
much
perverted
by a resonance through the nose, sometimes described as a "nasal twang;" and because of carelessness in articulation,
we have
that disagree-
109
redundancy
even
in
drawing-room
dis-
An
Mab
is
requires
it
it,
and we
is
find
eman-
when
the speaker
seeking to im-
own
strength or
when he
is
We
look for
it
in the
we
We
of
and
in the
word
command.
Without
its
would become
ridiculous.
mand
In the
110
Vttxtt
first
good
two
qualities of voice
may be made
wherein
he
with that
dismisses
first
night of Othello's
were very
Desdemona, when
"What! Michael
time.
Cassio,
When
Hath
ta'en
To
bring him in
This shows at
least a
"Friendship
love without
Othello says:
".
.
.
.
Cassio,
love thee,
officer of
mine."
Now
if
we were
passage
Slljf
Art 0f Arttng
expulsive utterance, moderate
stress,
with head
force, a
tone,
median
all
and slow
time,
we might
none
if
discover
it
with an oro-
we
no
love.
What
in
we
do with
it?
harmony with
the
will
make changes
make
with
all
The
actor
may
therefore
word
in a sentence,
if
in either
phase or kind.
quality of voice
is less
The pectoral
in use
it is
common
;
orotund.
The
pectoral quality
is
much lower
in reso-
where
The
and
tension
produces
effect.
orotund,
and
immediately
is
changes the
The
pectoral quality
more
monotonous
in its
movement than
its
either of the
range
in expression is
The
is
in the chest,
and
results
from a partly
re-
superior power.
It is
will not
destroy, seems to
force,
and even
in the
weakness of man.
Whether we contemplate
113
the silence
and
vast-
lj?
Art 0f Arttng
peak
lost in the
shadowing
ing into space, behold the myriad worlds that constitute the universe, the
the
mind
is
that behind
all
these phenomena,
there
human power
must
The
ity of voice.
To one who
grandeur
who might
exclaiming
exclaim,
"Oh, how
sound
beautiful!''
inadequate,
for
we
and
to the spindles
and looms of
woolen
factories.
But the
truly awe-inspired
word "Wonderful!"
114
among
School
the actors of of
is
what
is
called the
"Natural
Acting"
natural
which
to
simply
themselves
"Hamlet."
It
may
we must
con-
As
is
the
and yet
Ghost
that
is,
characters do.
of
any
life;
lf^
but no where
find a ghost.
Art 0f Artittg
the realisms of nature do
is,
among
we
The Ghost
therefore, supernat-
ural
strongly emotional
of the
the
human hereditament
their
innumer-
and
to
make
that being do
and
life, is
a truly awful
Whatever may be
and
The Ghost
is
awe and
horror.
present
its
impressions
through
ever-varying
the circum-
qualities of voice in
harmony with
116
Vnxtt
stance
that
it
will
follow
we cannot
The
acter,
of voice.
Ghost must
with
cell, else
make
from
their spheres."
his story horriis lost.
If
we
have not a
quality, quantity
and movement of
and lead
mind
of the auditor,
the Ghost becomes ridiculous by the contrast of the real with the
assumed unreal.
As
ing on the
and
SJfie
Art 0f Arttng
pure; but
In hatred
that
is,
the
a quality of
voice
made by a
sensation.
aflPected
by
guttural resonance,
of Shylock,
tonio.
found
in several speeches
when expressing
An-
in that
scene with
when
his hatred,
me an
I will
officer
he
can make
118
rr^ HE
-"
limit
acting,
is
used to
and
and loudness of
voice.
There
we
reflect that,
although
we cannot have
great
we can
we may
word "force"
activity
We
named
in the sing-
ij^
Art 0f Arlittg
forte, fortis-
at all neces-
cept to
Mu-
seeks
is
its
expression
speech
nothing unless
For the
we may
divide the
which
shall
approximately express
all
thought
Those who
divisions
selects the
word
for
naming a degree
;
of force,
and then
a
little
fits
only
observation one
is
may
of this
true.
We
force in nature,
der that
we may
field
of
The degree
of force
voice.
is
entirely dis-
For example,
secretiveness, or in ^weakness,
we hear
the
whisper.
Secrecy
is
when
it
is
involuntary,
is
It
requires but
little
this
may
think
made
as an appeal to
I
ever listened
force
the whispering
121
and
If?
Art of Arttng
was
the
most truthful
Supreme
Power
ing.
I felt that
the speaker
was
fully
impressed
Through
gener-
of
Lady
gate,"
cannot
be
expressed
without
the
whisper.
Suppressed Force.
Suppressed force
tense emotion.
is
Although
is
always a
men-
tion, resulting in
of
force.
The suppressed
force
is
made up
of the whis-
122
may
call for,
may
be.
The suppressed
be heard
force
may
among
the
bier, at
where
when
the situation
is secretive.
It is the pres-
Juliet'' truly
is
the absence of
with which
many
murder scene
their oro-
QIIH?
Art 0f Arttng
And
no-
where can we
him, exclaims as he
the gate, just after
is
startled
by the knocking at
left
him
"How
is't
with me,
when every
noise appals
me ?
What hands
eyes!
are here ?
Ha
Will
all
Clean from
my hand?
No;
this
my hand
will
rather
always combi-
There
is se-
and
The
secretiveness indi-
the sensation.
Even
124
horror
we
Sup-
when
voluntary,
is
its
the outcome of
proper use
al-
ways
Moderate Force.
We
find in nature a
It
constantly op-
may
This
it
may
We hear
in all
didactic
education
it
We hear
and
among the
moderate
still
Ij^
Art 0f Arttttg
tone,
an expulsive
thought
the
may sometimes require, will always hold subject matter down to a purely mental apThe dramatic
tires, if
peal.
the auditor
the
held
down
monotony
A beautiful
may be made
in
degree of force
who
Of
course, in
Hamhe
is
prove,
is
moderate.
Declamatory Force.
However calm and
be,
may
when he
moment
that the
mind begins
to re-
ceive impressions
Ifntte
either
through the
effect of
immediate surround-
ings, or
eral
ing organs,
pulled
up
to
it
has intelligence
differs
from suppres-
and
frank.
There
is
no weakness
to present,
and no
thought to conceal.
The loudness
of the voice
reach out as
to grasp
and hold
at once the
As
human
be-
open
in
its
to hear.
beautiful
and powerful
it
when
misplaced, as
it
often
is,
for
want
becomes bombastic
sense,
common
and
dis-
127
Art of Arttng
many beau-
force in nearly
"Julius
tunities
Caesar"
oppor-
factor of ex-
pression.
One
made
in the
opening of
potent,
Othello's oration,
although
his
remembrance of the
and
field,"
"moving accidents by
flood
and
his en-
may
to the
whom
down
to a
moderate
Some
and beautiful
128
specimen of oratory.
together."
"But
oh,
reform
it
al-
Impassioned Force.
When mentality is
animal nature
is
through
we may
call
Impassioned force, as the phrase implies, indicates the absence of mental control.
itself in
It
shows
and
in the aspi-
passioned force
may
produce apoplexy.
The imkill,
and
The
is
great muscular
power
to
represent
No
per-
Sllf^
Art 0f Arttttg
ergy, he will
first
or
if
his physique be
will, in
ninety-
And
again,
if,
relies
entirely
upon
by impulse, he
work, awkwardness
will
come when
It is
may
truthfully por-
matic characters.
demand from
want of
make
Iftivtt
such drafts upon the vitaUty of the performer,
that
we have
to-day but
actresses
who can
Lady Mac-
because of the
momentum
of the sensation as
it
mo-
in impassioned force
voice.
Even
terror, will
the
many
repeti-
movement
it
duration, begetting
131
aijf^
discords in tone
Art 0f Arttng
and time that are truly
distress-
man
is
an
him
to
We
and
disjointed action.
is
There
a very
fine
by mental suppression
"Ham-
full
of impassioned force
held
down
by the disciplined
itself in
the tremor of the body, which should produce disjointed action of the voice in both Horatio
and
Hamlet.
Marcellus says
132
3tittt
"How
pale."
and Hamlet
Ghost says
"What may
That thou, dead
mean.
moon.
Making night hideous, and we fools of nature So horridly to shake our disposition With thoughts beyond the reaches of our souls ?"
There
is
when
is
so
madman
for
at the very
all
the diplo-
the king.
Mac-
my
sight!"
are
terror,
wherein
we
"
ifr
Art 0f Artittg
to be alive again,
an "unreal mockery,"
and meet
him
in
mortal combat.
whelmed Macbeth's
"good
peers'*
by
whom he is surrounded, and talks like a madman. He even wonders that others can "keep
the natural ruby" of their cheeks while his "are
And when
appears he says
'*Why so
I
;
am
man
again
being gone,
manhood.
Macduff's return from the chamber where the
is
profession.
of his
sword
till
they
"O
Confusion
now
hath
made
his masterpiece
Most sacrilegious murder hath broke ope The Lord's anointed temple and stole thence
The
life o'
the building."
Such a representation of
was
manner
most im"leading"
portant actors
^men
who had
filled
we may judge from the words spoken by Macduff when he enters, we must conclude that
If
horror
speech.
is
the
sensation
that
is
prompting
to
The
and
spasmodic.
The
face
is
pale
and much
distorted
the
force
the
move-
135
In?
Art 0f Arttits
movement and
irregu-
He
should
move about
line,
"the
and remain there through the speech ending and speak for yourselves."
exit
with, "see
At Macbeth's
quickly,
Macduff should
start
up
from the
effects
of
and
"Awake Awake
!
When Banquo
Banquo
Our
136
^tttBB
Tj>
-*'
VERY
tonic
have
Now
ing
is
continually changing
its
location in the
tire
main
upon the
initial
or radi-
sometimes on the
and sometimes
it
is
broken up in
tittles,
making a kind
of trembling
i)?
Art 0f Arttttg
This ever-shifting force
is
Therefore,
we may
define stress as
we may
study the
produced by stress we
may
narae
them from
as,
sound
Thorough
Stress,
Radical
Stress,
Median
Stress,
Vanishing
Stress,
Tremor.
These various
language,
studied
stresses, existing in
all
our spoken
may
be heard at
all
times,
and may be
whatever
or
among
classes of speakers,
may
be their
skill in
pronunciation,
grammar
is
rhetoric.
Stress
force.
Each kind
guage.
of stress has
own dramatic
lan-
And
this lan-
guage, as
it is
lie
hidden
among
his
words.
Thorough
The Thorough
Stress
Stress.
is
the
language
of
sit-
manding.
It is the
it
This stress
may
force in Macduff's
call,
"Awake awake
!
Ring the alarum-bell murder and treason Banquo and Donalbain! Malcolm! awake! Shake off this downy sleep, death's counterfeit,
: 1
And
look on death
itself
As from your
sprites,
To
countenance
this
horror
The thorough
awful
all
the house
Glamis
hath
murdered
sleep
and
shall
therefore
Cawdor
Shall sleep no more:
Macbeth
sleep
no
more :"
This
stress
might
prevail
is
throughout
the
undoubtedly the
(Jlf?
Art 0f Artttt5
his sur-
"Now
The
world
now
;
witchcraft celebrates
Alarum'd by
his sentinel, the wolf. his watch, thus with his stealthy
Whose howFs
pace.
strides,
toward his
Moves
like
a ghost.
Thou
earth.
Hear not
my
steps,
fear
The very
stones prate of
my
whereabout,
And
Which now
with
it."
Radical Stress.
Radical Stress
is
All
so
abrupt as to be explosive
140
in utterance,
expend
initial
or radical in
may
differ
be the same in
is,
mode
of
that
explosive in utter-
ance and
initial
or radical in stress.
All the
less in force
still
and differing
manifest themselves
stress.
the
auditors.
Used
One may
find a very
happy
illustration of the
predominence of
of
initial stress in
the merriment
Gratiano's
speech
in
the
"Merchant
of
Venice:"
"Let
me
old wrinkles
come
"
^ift
And
let
Art 0f Attittg
with wine
my
Than my
Why
Sleep
warm
within,
By
being peevish ?
I love thee,
and
it is
my
Up
from
this
"A sort of men whose visages Do cream and mantle like a standing pond. And do a wilful stillness entertain.
With purpose
to be dress'd in
an opinion
Of wisdom, gravity, profound conceit; As who should say, / am Sir Oracle, And, when I ope my lips, let no dog barkT
Another
and
142
explosive utterance
reply to Solanio
sisted
may
be found in Shylock*s
as-
Lorenzo
in eloping
Solanio,
the
With an outburst
my
daughter's flight."
And
when Tubal
undone."
tells
him
that "Antonio
is
certainly
Shylock replies
;
"Nay, that's true that's very true. Go, Tubal, me an officer; bespeak him a fortnight beI will have the heart of him if he forfeit fore. for, were he out of Venice, I can make what Go, go, Tubal, and meet merchandise I will. me at our synagogue; go, good Tubal; at our
fee
synagogue. Tubal."
The
and
Wilt
Art nf Arting
to you, trippingly
it,
mouth
pray you, as I pronounced on the tongue: but if you as many of our players do, I had as lief
I
my
lines."
Median
Stress.
expresses
the
it
When
the
emotion
pleasing
seeks to
when
we
called
median or middle
nature has
the
its
power
to take the
realisms of
gage
it
and checks
is
reflec-
situation
not ques-
tioned.
The median
language of
;
love, friendship,
and,
heard
in the
of the median
stress is persuasion.
This
stress,
when properly
voice, which,
applied, gives a
charm
by the singing
power
words.
stress,
in
in
Shakespeare's play.
circumstances
which
prompting emotion.
Portia's speech on the quality of
mercy
in the
The
is
to
awaken the
feel-
; :
Bift
Art 0f Arttttg
"The
It
quality of
mercy
is
not strained;
Upon
droppeth as the gentle rain from heaven the place beneath it is twice bless'd
;
and him that takes It becomes The throned monarch better than his crown His sceptre shows the force of temporal power. The attribute to law and majesty, Wherein doth sit the dread and fear of kings But mercy is above this scepter'd sway,
It blesseth
him
that gives
It is It is
And earthly power doth then show likest When mercy seasons justice. Therefore,
Though
justice be thy plea, consider this
God's
Jew,
That in the course of justice none of us Should see salvation we do pray for mercy And that same prayer doth teach us all to render
:
The deeds
of mercy."
there
is
another
fine illustra-
of the
median
stress.
Wolsey evidently
pities himself
when he
"O
says
Had
I
but served
served
my
Cromwell, Cromwell my God with half the zeal King, he would not in mine age
to
Have
left
me naked
mine enemies."
146
Through
love
of
growing
Othello
to
Desdemona
when he
says
"If
it
I
My
Twere now
to be
I fear,
Succeeds
in
unknown
fate."
Vanishing or Final
Stress.
When
seems
this
the force
is
and so we
is
find that
application of force,
which
called iinal
stress, is
heard
in all of those
has settled
down upon
the impulse
and seems
to
and
irrevocable.
stress
is is
Final
therefore
the
language
of
hatred, which
Final stress
is
also
and
it
is
heard in
Elft
Art 0f Arttttg
the
away
at the
and explodes
in the sob.
by the
final stress.
good exemplification of
in the soliloquy of
this stress
may
be
found
downward
"How
I
like
him for he is a Christian But more for that, in low simplicity, He lends out money gratis, and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip
hate
I will
bear him.
He
Even
On
me,
my
bargains, and
Which he
calls interest.
my well-won Cursed be my
thrift.
tribe
If I forgive
him
!"
An
excellent
example of
final stress,
express-
ing impatience,
Juliet in the
may
where she
is
: !;
In half an hour she promised to return. that's not so, Perchance she cannot meet him lame she is should be thoughts, O, love's heralds
Which
ten times
faster
sun's
beams. Driving back shadows over lowering hills Therefore do nimble-pinioned doves draw love And therefore hath the wind-swift Cupid wings. Now is the sun upon the highmost hill Of this day's journey ; and from nine till twelve Is three long hours, ^yet she is not come.
Had
warm
youthful blood,
love,*
And
his to
me :"
in
"Macbeth," affords
expression of horror.
"O
Cannot conceive nor name thee Confusion now hath made his masterpiece Most sacrilegious murder hath broke ope The Lord's anointed temple, and stole thence
The
life o'
the building.
^ift
Art 0f Arttng
To one who
in real
life,
voice,
and
the thoughtless
if
not satis-
art,
terfeit castle
he
top.
in
movement
suf-
the emotion, to
command
surrounding sleepers.
final
may
Act
IV, Scene V.
150
saw
But one, poor one, one poor and loving child, But one thing to rejoice and solace in. And cruel death hath catched it from my sight !"
Stress of Tremor.
The
Stress of
Tremor
is
extreme
tion
is
joy, or in
This stress
ness, of old
is
emo-
The
stress of
human emo-
we
find
it
laughter.
Tremor
is
up the force
impulse and
if?
sending
it
Art 0f Arttttg
Adam
in
It,"
when
Adam
Dear master,
food!
I
to
Orlando.
:
can go no farther
O,
I die for
Here
lie I
my
grave.
It") to the
"A
fool,
a fool
!
motley fool
I
fool
i'
forest,
!
As
Who
by food, I met a fool, him down and basked him in the sun. And rail'd on Lady Fortune in good terms, In good set terms, and yet a motley fool."
do
live
laid
The
news of
In laughter,
initial
upon a radical or
152
stress with
in
weep-
Your tributary drops belong to woe, Which you, mistaking, offer up to joy.
My husband
And
All this
lives, that
would have
slain
my
husband
is
Some word
comfort; wherefore weep I, then? there was, far worse than Tybalt's
I
death,
would forget
it
fain
my memory
Like damned guilty deeds to sinners' minds: Tybalt is dead, and Romeo banished.
That banish' d, that one word banished, Hath slain ten thousand Tybalts to speak that
word
Is father, mother, Tybalt,
Romeo,
Juliet,
All slain,
all
dead."
Without the
stress of
in
anger of Macduff
fall
doubtedly
that
is
force
and
truthfully presented.
After the
153
outburst of
If?
grief
Art 0f Artttts
we can
says:
like a
man!''
readily
final
stress with
in the
"But
mugt
I cannot but
look on,
And would
Sinful Macduff,
They were all struck for thee! am! Not for their own demerits, but
Fell slaughter
Naught
that I
on
their souls:
now!"
now
exit
may
it
use
to ex-
haust
itself
"Be
this the whetstone of your sword let grief Convert to anger blunt not the heart, enrage it."
:
154
strength.
Indignation
grows
into
anger that swells and rages with such impassioned force that the whole frame vibrates under
it
And
braggart with
heavens,
Cut short all intermission front to front Bring thou this fiend of Scotland and myself; Within my sword's length set him; if he 'scape
;
me
Heaven forgive him too !"
155
Pitrti
unh 3nfUrtt0n
PITCH
the voice.
is
music, and
may
not
to music.
is
study of pitch in
relation to music
A
with
in the various
dramatic artist
is
capable; but
to
me
factor in expression.
Pitch, as I
line of
have
said, is
in the
Pttrif
unh
3(ttfUrtt0tt
is inflec-
The degree
an expression.
may
be so slight
as to produce very
muscular contraction,
will be scarcely
we
utter,
and
to
some other
from high
ele-
to low, or
from low
to high,
on every tonic
is
ment enunciated.
no
sentence or a paragraph
in the delivery,
may
be
made
monotonous
by the recurrence of
together with the
voice,
157
Wift
same
rate of
Art 0f Arttttg
pause,
movement and
inflections.
and a
repeti-
tion of the
same
In the expres-
and the
weight of the
sensation
is,
could
and
moved
about, that
up or down,
at will.
is
The domination
of strong emotions
shown
action
voice,
from a given
In the speaking
till
the
sound
a continuous
which
it is first
voice up or
the voice.
down from
inflection of
The degree
of the inflection
158
upward or down-
ward from
in
there
is
line of action in
inflections that
makes an
change
in the
it is
which
apthis
its
therefore necessary to
it
name
divergence, so that
may
be defined and
meaning understood.
flection"
in this
It is called
a "circumflex in-
heard
in
Here,
two variations
its
voice from
starting point.
inflections
The
first
two
and a
the variations
indirect or
Iji>
Art 0f Artittg
Beside these two
heard
in the voice
under some
sake of distinguishing
ing, be called a
it
and describing
mean-
compound circumflex
inflection.
To
recapitulate,
we have two
inflections of the
marked
varia-
Inflection. Inflection.
Inflection.
Falling Inflection.
Inflection.
variations in the
movement
we know
we
of nature
in the art of
Read-
The cause
nature,
is
and contin-
160
Pttrif
uity of thought.
Inflection
is
nnh 'SnfUttxnn
The cause
of the Direct Falling
and com-
pleteness of thought.
fall-
in
from the
shown by
The
be
Any
reaching
divergence
a
point
from
on
the
the
hypothenuse
in
will
perpendicular
Now,
if
lengthened,
it
more time
to reach
from point
of sound;
and
if
more time
161
is
occupied by the
If?
Art nf Arttng
ment than
is
it is
be-
cause while he
another.
is
thinking
The
shown
in the in-
movement
of the voice.
To
make
and so be-
the
lan-
guage
and
all
meaning.
When
the voice in
its
movement presents a
cir-
downward with
the
same
circuitous action,
it
is
the language of mockery; for, while the rising inflection expresses the continuity of thought, the
immediate falling
inflection in the
same voice
is
Pttclj
the subject;
attJi
afnfUrttntt
This ac-
mockery, because
it
at once ex-
When
"no,"
a question
may
be answered by "yes" or
it is
and when a
it
called a
compound
question.
A
tion,
because
it
When
the answer
given,
it
is
because
makes completeness
is
of thought,
"Are you
which
is
is
satisfied
when
the answer
is
"yes" or "no"
given.
And
the answer
given
complete.
163
If?
Art 0f Arttng
compound
question, which,
Why does
the fact of
the
from
its
"Why
it is
is
a compound question
inflection,
and
is
because
mandatory
The compound
ques-
indicative
Command
brief
analysis
will
prove
this,
thus
"Yes." "Yes."
it
me why?"
"Then,
tell
me."
"Because
pleases
me
to
go
home."
From
is
compound question
it
in-
PttrJf
dicative
attin
3lttfUrtt0tt
to-
compound
question,
and so the
statement "Indeed."
inflection, as thus,
commonly
With
is
of
The
downward
sion of
it is
With
thus
:
"Indeed !"
this
state-
should be
165
I}r
Art of Arttng
apply the compound circumflex
thus, "Indeed?" or
shall find that, while
And now,
if
we
inflection to this
same word,
we
wave
and affirmation
rising
and
wave
ting so
much mental
move-
ment
from strong
feeling.
A
may
"direct rising"
and "direct
falling" inflections
Upon
Horatio's
first
amazement
tions
apparition; but, at
last,
Hamlet seeks by
if
the admitted
was
ceeds to interrogate
Hamlet
Indeed, indeed,
sirs,
Hold you
We do, my lord.
Hamlet, Arm^d, say you ?
Marcellus and Bernardo. Arm'd, my lord.
Hamlet.
From
top to toe ?
Hamlet.
his face!
yes,
my
Hamlet.
What
Horatio.
countenance more
in
sorrow than
in anger.
Hamlet.
Pale, or red?
Horatio.
Nay, very
167
pale.
Art 0f Arttng
Hamlet.
fix'd his eyes
And
upon you ?
Horatio.
Most
I
constantly.
Hamlet.
would
had been
there.
Horatio.
It
Very
very
like.
Stay'd
it
long ?
a hun-
Horatio.
tell
Not when
His beard was
It
I saw't.
Hamlet.
grizzled,
No
Horatio.
it
in his life,
a sable
sil-
Here we have a
series of questions
and an-
and
Ptttif
VLXth
3ttfUrti0tt
where Horatio
first tells
Hamlet
of the
vision
we
heard
it
is
to come, as thus
Horatio.
My lord,
I think I
saw him
yesternight.
Hamlet.
Saw?
Who?
Horatio.
My
lord, the
Hamlet.
The King, my
in
the
"Merchant of
Venice"
Jew
is full
of irony, scorn
his opponents
against
his
whom
pound
SIIjj?
Art 0f Arttng
the
ability
to
pay
three
thousand
borrowed
ducats.
Meeting Shylock
in the street:
Salarino.
But tell us, do you hear whether Antonio have had any loss at sea or no ?
.
. .
Shylock.
There
Rialto;
a bankrupt,
a prodigal,
who
smug upon
his
the mart
call
beggar that was used to come so let him look to his bond
he was wont to
me
let
usurer
let
him look
to
Christian courtesy
him look
a
to his bond.
In this speech
we have
series
of
direct
and seninflection
downward
we
find that
very powerful
ward circumflex
both
the
inflection
coming
and
into play
on
words
"Christian"
"courtesy."
And
tion
is
circumflex inflections.
Salarino.
Why,
his flesh.
am
sure
if
talce
To
it
my revenge. He hath disgraced me and hindered me of half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends,
will feed
and what's
his reason
am
Jew
a Jew!
he not fed with the same same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same summer and winter as a Christian is ? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? and if you
tions, passions?
wrong
If a
us, shall
are like
in that.
Jew wrong a
Revenge.
what
is
his humil-
If a Christian
wrong a Jew,
what should his sufferance be by Christian example? Why, revenge. The villany you teach me I will execute; and it shall go hard but I
will better the instruction.
in the voice
ifp
exhausts
tonic
its
Art 0f Arttttg
single
it
element of an
although
sometimes spreads
phrase, as
itself
"Ah
Indeed
Oh
then, I see
you."
The degree
will
sation.
172
Q^im^
rr^IME
^
mental
Time
is
is
before
the audience,
and
given,
is
mo-
ment
it is
delivered.
The
The
eflFect
The
nates,
The
actor
who was on
was
at least a minute
and a
half, or
who causes
minute.
until the
No
satisfactory conclusion
is called,
reached
prompter
tion
is
"wait" was
The
The
in
dramatic time.
The
is
in standard time,
clock; hence
two disputants
to agree on the
who
is al-
ways
in standard time.
Time
as a factor in speech
is
made up
of move-
voice,
174
Uiimt
tions
in representing
an emotion and,
sion, time
emotion.
All
emotions
result
from
mental impressions.
tension,
is,
movement with
;
quick
but
movement with
We
as
it is
is it
at all necessary
an emotion that
we
are never called upon to speak or act in conIndeed, speaking and acting in concert,
is,
cert.
that
as a unity of voice
is
and action
in
groups of
speakers,
SIj^
Art 0f Arttns
an emotion, we
of
may
movement and
shall
which
approximately express
sation
Moderate
Quick
Quickest
Modcraie
Slow
Slowest
in didactic
and argu-
Moderate time
will
made up
of that rate of
will
movement
permit the
phrase or sentence.
discourse
aimed
the
at
mental equilibrium be so
cannot apprehend the
rapid
that
listener
meaning
librium
is
Stmr
fails in his
aim.
If,
deliv-
own thoughts
giving off
mind
is
instead of receiving.
happy
illustration of
moderate time
is
in speech.
equilibrium
will
and
fear, the
movement
will
be quickest, the
Very
may
Messenger.
the
The Messenger,
in alarm, brings
news
Mac-
SIjF
Art 0f Arttng
upon the Messenger as he
approaches, exclaims
Macbeth.
Thou
Messenger.
Gracious
(Panting utterance.)
my
lord,
I
saw,
Well, say,
sir.
Messenger.
I did stand my watch upon the hill, toward Birnam, and anon, methought, The wood began to move. Macbeth. Liar and slave Messenger. Let me endure your wrath if't be not so. Within this three mile may you see it coming;
As
I look'd
I say,
a moving grove.
Macbeth.
thou speakest false, Upon the next tree shalt thou hang alive, Till famine cling thee [slow time for the rest of the speech] if thy speech be sooth, I care not if thou dost for me as much."
If
:
when Tubal,
Tripolis.
Yes, other
men have
ill
heard in Genoa,
luck,
ill
luck?
^hath
Tripolis.
thank God,
Is
it
true?
Is
it
true ?
Tubal.
I
the wreck.
news
ha ha
!
Where
is
in
Tubal.
But Antonio
Nay,
fee
certainly undone.
Shylock.
that's true
;
me
an
officer;
I will have the heart of him if he forfeit were he out of Venice, I can make what merchandise I will. Go, go, Tubal, and meet me at our synagogue; go, good Tubal; at our syna-
fore.
for
gogue. Tubal."
179
Sllf^
Art 0f Arttng
And, again,
"Down,
duke,"
therefore,
"Beg
hang thy-
And
yet,
Thou
its
pungency
if it
were
delivered in any other but the quickest time compatible with perfect articulation
nunciation, for
it
must seem
to be impulsive.
in quick-
Quick time
is
the language of
first
all
those phases
is
outburst
subdued,
and
the
movement within
180
Wxmt
The Queen Mab speech
and
first
of Mercutio in
"Romeo
in the
Antonio
scene of
"The Merchant
of Venice" begin-
me
First
good examples.
Beatrice,
talking, Signior
Benedick.
What,
living ?
my
Beatrice.
Is
it
such meet food to feed it as Signior Benedick? Courtesy itself must convert to disdain if you
come
in her presence.
Benedick,
Then
I
is
courtesy a turn-coat.
all ladies,
But
it is
certain
:
am
loved of
would I could find in my heart that hard heart: for, truly, I love none.
Beatrice.
dear happiness to
women;
have been troubled with a pernicious suitor. I thank God, and my cold blood, I am of your
humor
at a
for that I had rather hear my dog bark crow than a man swear he loves me.
:
181
(5ij^
Art 0f Arttng
Benedick,
ladyship
still
in that
mind
so
Beatrice,
make
it
worse an 'twere
A
I
bird of
my
tongue
is
yours.
Benedick.
would my horse had the speed of your tongue, and so good a continuer. But keep your way o' God's name I have done.
;
Beatrice.
know
in the impatience of
tiresomeness of Glendower.
Hotspur, O, he's as tedious
As a tired horse, a railing wife Worse than a smoky house: I had rather live With cheese and garlic in a windmill, far, Than feed on cates and have him talk to me,
Slow time
182
feeHng
Under
movement
and
must be rated
as slow of
pause
the
muscular
system
word or
phrase. Fear
fear,
the time
is
In
all
mind
and
reflection,
of going
forward
seems to
and backward
at the
same
instant, as
down
to
even
less
we
ailj^
Art nf Arttttg
The
were repeated
in the
beyond endurance
if
Slow
and awe.
The Moderate
Time
would
Ghost and
"To be
fills
the
"And makes us rather bear those ills we have, !" Than fly to others that we know not of
Slowest Time
is
and dread.
184
It is
difficult
matter to
fix
terror, joy
Quickest Time
may
movement
that
would
time that
tion
in
may
performed.
The dramatic
incidents of
may
its
system regains
normal
lf^
Art 0f Arttttg
its
after effects
to the
re-
sume
gesticula-
of the soliloquy
soliloquy
was
tedious,
Time
in acting
artist.
is
dramatic
made up
of hope
and
fear,
commonly
his
called
"nervousness,''
resulting
from
unprepared
criti-
cism
by
audience,
or
his
overwhelming
Exmt
shortens the pauses in the serious, sublime, and
grand
situations of the
movement
in
of
emo-
tions in nature
adapting
preserve that unity of time throughout the entire play that serves as one of the strongest effects in
in nature.
Then take
the
mirthful,
cutio,
in
may
blance to nature.
187
Art 0f Artitig
the
original
use
will
be admitted that we
now
upon a given
word,
in
standard lexicon
be at
all
accentuation of a word.
to
mean
logical
mode
may demand on
Whether emphasis be
tory, or antithetical, will
interrogatory, declama-
inflec-
188
(&^Btntt unh
IficBi^
He
is
made up
of
two
distinct
and
the
inseparable
parts
the
physical
and
mental.
Through
impressions
from
his environments;
until
when
the
mind ceases
to be receptive,
As
all
the action of
and might
human body
is
189
Ij?
Art 0f Arttttg
name
to
the emotion.
their
work through
is
will be
engaged
pression,
and pose,
Gesticulation
actions
and
position
include
all
the
and
all
human
circum-
body,
whatever
may
be the
exterior
and they
Because
may
be truthfully
speaker
is
of natural language.
Just as one
ity
may
and gladness
may one
recognize
190
All
human
ac-
is
present,
readily be
seen
that
gesture, like
without force.
;
The
gesticulations
gracefully
ful;
so,
made and
too,
circus rider
and
in the
skill
make him an
There
is
and
posi;*'
may
summed up
191
in the
word
"fitness
JUift
Art 0f Arttng
word and
the
word
to
The
illus-
suited to
made up
of beauty
and strength,
graceful,
is
always striving to
and
gesture
is
as the one
who
is
effect
of a
prevailing
in the
median
stress.
sense of impersonators of character and illustrators of emotions; they are simply "performers,"
to the
tractiveness of their
own
personal peculiarities
and wardrobe.
butterfly existence,
and are
to be
found in their
fastened in a garret.
abandon-
ment
of age.
It is
that
successful in collect-
ing money.
It
man
he
is
there-
He
is
simply a successful
An
ing,
many words
common
that
all
their
QIIj^
Art 0f Acting
command "At-
of the
man
is
word
of
The body
erect,
down
it,
ground
at about
near together and the feet so turned out as to represent an angle of forty-five degrees.
ition not only expresses strength
This posis
in readiness to
move
is
in
any
direction.
Repose of body
remaining
in the
same
is
relaxed or bent a
foot
Movexpress
ing
the
released
forward
will
mean
retreat.
Each
foot
may
in turn retreat or
advance
governing
cir-
cumstance.
The
tBtntt unh
Ij^xtBt
is
an outcome.
The
muscular
army
drill-master
way
of
movement
and lower
limbs.
more
and emphasizing
emo-
movement
of
is
the
called graceful,
language of gesti-
ment
ment
of the
of
same
The
circle or
any segwhile
circle
suggests
195
continuity;
Sljr
straight lines
Art 0f Arttng
Hence the
But
movement
in gesture.
is
tained
when
;
it
nature
and nature
human form
is
not always
graceful.
The grace
or awkwardness of the
gesticulations of the
upon
its
may
be illustrating.
the
How-
ever graceful or
awkward
is
movement by
the
hand of
supplication, and,
horizon,
it
gesture
may
the
The climax
of supplication
is
expressed by
power
suppli-
196
cated.
bowed head.
by
falling
Humiliation
may
be emphaof
sized
on the knees.
is
The extreme
expressed by
fall-
Such extreme
The hand
the body,
It is
is
hand of
rejection or repression.
toward the speaker and whether the gesture extend upward toward the sky or
the earth, or the
downward toward
arm
lie
the wrist, so
hand always
rejects or represses*
The hand
cation,
hand of
suppli-
whatever pose
may
hold, will be
em-
phasized or strengthened in
like action
its
expression by a
Slff
Art 0f Arttng
When
thumb
inclining to-
tip of the
second
finit
any
direction,
;
may
it
because
in
expression
its
may
be
in-
creased by a repetition of
circle
perpendicular to the
By
The
of
its
actions belong
may
be ex-
198
the
fist
and shakes
it
at the cause as
if
threatening
punishment.
and
reflection
ideal
subjects.
Th^
direct raising
and lowering of
the head
affirmation
to the
word
"yes."
pivotal
The
movement
commonly
to side, direct,
word "no."
The impatience
er
is
negation by a
jerky
movement
of the
head
in either the
oblique
movement
nodding or
199
I;^
shaking,
is
Art 0f
Artittg
ing anger.
We cannot imagine a
let
hero or a heroine,
Hamgrace
There-
heroic gestures
should be sweeping,
arm
in cir-
final
blow
This
final action
the strength
and
is
by actual
to
practice.
learn
march by
sitting
may
learn gesture
Among
of the
outward exponents of
is
in-
at once
expressions, the
200
most
it is
also the
most
art.
subjection to dramatic
If
it
map
of
may read
fixed lines
is
it
make such
contractions and
first,
movements
might be?
Just as
when an
I
actor, in saying
am
or pulls
down
he
is
really saying to
"How
do
look?
Observe
my
style!"
effect, if it
I|?
scure
If
it
Art nf Arttttg
egotistical pride
all
it
by the
of the actor.
be true that
the
permanent or transient
that
if
then
it
will follow
the
face
just
as
would be
his
own
the
all
which he
is
capable.
The
and the
controlled
a very
subtle effect
to
and
it
requires
many
gree of perfection.
It will require
but
little
the student to
know
will
of
it is
is
the last achievement of the art, and the most perfect distinguishing sign
the artist.
To
all
the ex-
beyond the
possibility of
any one
changes of between
pressions
from
ever-changing
circumstances?
One might
It is true that
some
of the gesticulations
and
make
is,
the as
no perfect "art
Even Lavater,
was
203
ln^
unable to leave
it
Art 0f Arttttg
as an accepted science and Dar-
observations
made upon
men and
descriptions of
The
may
be divided
the movements of the muscles of the forehead the movements of the eyesthe
into three parts
movements of the
lips,
under the
may and do
A man
may
lift
is
opened.
dis-
The
difference between
is
an agreeable and
agreeable surprise
action of the lips
in the
The agreeable
in the
surprise pulls
is
ex-
the face
be turned a
little
symptoms of deafness or
once become
visible,
hearing at
at once
change
to vertical lines
supercilii,
making the
vertical wrinkle
The
eyes
to
make
more
per-
fect,
by shutting out
Where
head
is
generally pulled
lli>
Art 0f Arttns
of the frontal sinus
common among
on the
is
mechanism
is
so apparent
that
it
window
of
we
shall
be able to un-
man
or
woman
whose whole
bition in this
individuality seems to be
on exhi-
window
of the mind.
its
The
action are
first
and
yet the
movements
The
206
ly
;
but
all
of their
in the
same
direction.
Any
opposition in the
movement
to volition
expansion and
contraction
of
its
pupil,
"How
dull
bright
look.
or
"How
you
fixed directly
on the speaker,
is
it
held there
the
the
is
speaker, of
amount
of interest that he
awakening
in the
mind
upon
of his auditor.
If the auditor
be called
lf^
or
it
Art 0f Arting
may
sumes a listening
is
attitude.
To
be a good listener
one of the
difficult
and
place,
who
is,
by reason of
bad
art.
No
it
tray such a weakness, and no good dramatic director will give place to
in his
work.
is
the language
When
the
mind
208
in na-
upward, as
the physical
vis-
would reach
beyond the
limits
all
of
its
natural surroundings.
The
ecstasy of
mind and
life,
lifting
it
to realize this
seeming good.
constantly in
if
is
sides as
on guard
is
In hatred, which
settled,
sul-
fully
The plane
of action
is
the horizontal,
opened as widely as the contraction of the corrugator supercilii and the lowering of the brows
will permit.
afif^
Art of Arttttg
muscles and de-
The movements
of the eyes
from
side to side,
and express a
served.
whatever
may
when
and the
droop,
is
while
the
eyes
look
There
is
is
very
little
There
is
a valuable
210
larly
formed nose
will
from concealing
nose,
in
though
it
may make
and weak
expression,
is
may
There
identity as a
change
in the
form and
size of the
nose.
more
on ''make-up."
The mouth,
the
lips,
full of gesticulation
and
wonder-
fully expressive.
The upper
casm.
curl.
In grief both
lips tremble,
of the
mouth droop.
is
In surprise, which
always an expression of
itself
a look of in-
is
wrinkled hori-
If?
the
Art 0f Arttng
still
mouth opens
wider.
And
if
the mystery
and
first
and
at once there
made by
all
of the gestic-
muscular system of the face and throat more tensive, so that control of the voice is lost;
and
if
it
Horror, while
nostrils
it
as
with an ague.
whisper, or
lips,
it
The
voice
may
be a spasmodic
may
The
perform the
office
of
articulation.
effort to
speak in extreme
sumed howl
that
would be
212
entirely undistinguish-
among
one's
Hatred, which
is
a men-
firmly,
compresses the
lips
than round
opening
of
the
lion.
very
fine illustration
of
hatred, pure
and
simple,
may
called
him
"cut-
and had
upon
his
"Jewish
gabardine"-T--the
down
He
says
"If a Jew wrong a Christian, what is his humility ? revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? why, revenge."
213
If?
It is
Art nf Arttng
tors of expression
perfect; but
if
it
be clear
enough and
will
And
even
if
and
illustrations, only
enough
will not
light to
make him
work
be a failure.
214
Hun^liUt
TF
"*
is
to express
our
call
we may
it
pos-
advantage of being
call
intelligible to all
peoples,
we may
Of
come
all
of pleasing sensations,
Laughter
so entire-
impulsive that
tells
it
when
our reason
other hand,
us to suppress
and, on the
of our
own
purpose of arous-
positively .refuses to
ffilj^
Art 0f Artitts
And yet,
laughter
like
is
every
human mind,
suscep-
eral factors
and
through study
the will power.
The
study
first
is
must be
in-
But when we
reflect that
every
made up
more
shall
we
may
quick move-
ments and
volatile
sounds
is
If
we can
made up
it
of,
with practice
we ought
to be able to
put
together.
to be pre-
must have
vocality or sound of
some
216
kind to be heard
tions,
it
must have
and a base
in the stress of
is
tremor whose
dramatic language
the muscular
power
in
always made on
of the sounds
Some
so,
when
first
it
comes to
it
or the last
the
a as
in ale
(compound)
2. 3.
a as in art a as in
all
4.
1.
a as in an
e as in eve
e as in
I
2.
1.
end
as in ice as in
(compound)
2.
I.
m
217
as in old
t
2. 3.
I.
Art 0f Artttts
as in /o^^ as in
c?n
w as u as u as
ou as
in tube in full
2. 3!
I.
in
up
in ow^
(compound)
(compound)
oi as in oi7
we
a,
as
is
com-
monly heard
word
art,
with an "expulsive"
and a mod-
erate force,
we
shall
indi-
This base
may
mode
prolonged
change the
is
Now
come
ha.
Add
to this
form the
stress of
tremor
and we
shall obtain a
illustrated thus,
Ha,
and may
besides
"mode
and
"stress of tremor."
force,
Though
the laugh
what
is
usually
it
will be suffi-
We
shall, there-
and
242
a,
a,
e,
we
may have
of voice," "force,"
Art 0f Arttttg
4
2
ha, ha, ha.
2
-f/a, /la, /la,
ha,
Ha,
He,
We have now
the
same
utterance, the
same
same
the
stress, the
same
force, the
same
time,
and
same
inflections.
sarily indicate
mental deliberation
is
the language
we must
We
:
may do
2
this
by
lengthening the
first
sound thus
Ha,
4
ha, ha, shortening the second sound thus ha, ha,
still
more than
thus,
He,
Our
example at
presented thus
42
ha.
might be
Ha,
Ha, ha,
He,
he, he.
is
must
be, or
is
be worse than
There
is
nothing that
more
destruct-
the
awkwardness of
it is
his
wooden laugh
Hay,
and
direct the
mechanism of expression
in
dramatic
art.
This
rising
Ha,
ha, ha,
4
sound, as thus. Ha, ha, and then applying the
falling inflection to the third sound, as thus
He,
The example
42
Ha-ha,
Ha,
He,
The
force
JSlt^
Art of Artiitg
Now, while
movement
broken up, there
is
separate
these
three
elementary-
The mechanism
of time in these
two
pauses must be destroyed by taking one of the pauses out, and letting the three sounds succeed
moods
42
ha.
Ha,
Ha,
He,
Thus
it
is
shown
may
be ob-
served, studied
study in
itself
mark some
we
mouth
in the
it
performance of the
sound
a,
we
shall find
222
Hauglittr
so nearly closed that the laugh resulting
called a "close
tary,
it
may
be
mouthed laugh."
When
it
involun-
indicates
of muscular control;
when
voluntary,
it
expresses
mockery or contempt.
the novice or
We hear
sometimes in
young
actor.
When
Ha!
ha! ha!
hay! hay!
is
generally
of a
is
very
this
flat,
and the
indi-
sound
Long
makes the
little
laugh that
is
''Te, he,
he"
The
short e
is
heard in the
a party
when one
of a
Qilft
Art 0f Artitig
The long
i is
com-
pound and
of a
its
made
in the
and
e.
The
short
i is
uncultivated voice,
costal
when
power
Hi,
The sound
of o
is
heard in
who
live outdoors,
and
air.
word
"lose"
makes a kind of
diplo-
sound of
ing
its
0,
which
is
commonly
man
who
likes
sound of
u, as in tube,
seems
of
u as
in
full,
of
laugh that
we hear
among
ple, hUj
The
is,
short u as in up,
as
Ou and
oi,
in vocal
gymnastics
may
made by running
all
(The
figures
over
the
letters
indicate
the
41
I
Ha
ha ha ha ha ha, he he he he he he
2
he he, hi hi hi hi hi
hi,
I
ho ho ho ho ho ho, ho ho
225
Eift
3
Art 0f Arting
I
ho ho ho ho ho, ho ho ho ho ho, hu hu hu hu hu
2
hu,
hou hou,
hoi.
The benevolent
by an explosive
226
(Q^rging
attln
W^tpxn^
is
undoubtedly a
when we attempt
describe the
to define
human
actions or to
drama
of emotions.
Crying seems
nature in
force of
to be the
man
anger, his
Crying
is
a noisy, boisterous
is
always disagreeChildren
will
men and
women
227
Sifi?
Art nf Artttig
it is
shows a lack
cries.
him who
In
many
site effect
When
not un-
performed
it
pity,
but
Crying
is
an expression of weakness.
it is it is
If a
If
man
he cry
because he
is
not mentally
If
he
shows
his inability to
ing aloud in any case expresses the nature of the man, and
selfish
animal
may
create a feeling of
And
cal or
pro-
sympathy,
pathy
is
it
will be
Olrgtttg
attin
Wttpinq
is al-
ways
factor in act-
The
sup-
which
is
longer,
and
We
or mental, and
we sympathize with
its
breaking
silent
and as the
way
to sen-
sations
which
it
cannot control,
we
recognize the
the sufferer.
It is
grow from
silent
and when
229
Art 0f Arttttg
given
and
force, so
as to
blance to nature.
some very
fine
passages, which
show the
a pas-
and
its
suppression to
silent, tearful
weep-
ing.
He
cries out
and
tutor,
begs
him
to let
in explanation
is
of the situation to
show
really
kind to him,
"Thou
Romeo
230
(Jlrgtttg
nnh WttpittQ
I,
Wert thou
as
young as
An
hour but married, Tybalt murdered, Doting like me, and like me banished, Then mightest thou speak, then mightest thou
tear thy hair,
fall
And
The Friar
exclaims:
"God's will!
What
simpleness
is
this!"
And
which
Juliet
has fallen
by reason of his
he
draws
out:
his
sword as
to take his
own
life,
crying
"O,
tell
me. Friar,
lodge?
tell
me,
I
Doth
my name
tell
me, that
may
sack
The
hateful mansion."
The Friar
says:
"Hold thy desperate hand: Art thou a man ? Thy form cries out thou
231
art
Sljf^
Art 0f Arttng
;
tears are womanish thy wild acts denote unreasonable fury of a beast Unseemly woman in a seeming man !"
Thy The
Here we
The Friar
calls
likens
him
and for
his
weakness
him even
an unseeming woman.
himself
And
this is
Shakespeare
who
impo-
How much
more powerful
is
the silent
manner
with which in the Fifth Act he receives from Balthasar the news of the death of Juliet.
in the scene
Although
lines
and
situa-
Romeo
yet,
when he
is
fully im-
how
silently his
We
first
see
to
When
is
we
him
at
Mantua, whither he
banished, he
says
"If I
may
My
hand
:"
232
: :
Romeo
exclaims
How
letters
How How
doth
fares
if
she be well."
Balthasar replies:
"Then she is well, and nothing can be Her body sleeps in Capels' monument,
ill
And
Then comes
"Is
it
determination of desper-
"Then
What
sentences
of his dy-
no longer struggle
is
There
no outburst of
is
more power
233
Eift
Art 0f Artttts
In neither situation
is
Juliet dead;
fully
and
we
and keenly
sympathize with his great and overwhelming sorrow, because of the intellectual strength shown
in the suppression of the sensation.
This sensa-
fills
and
delicate
its
working of an
break.
There
is
in silent
And
for
its
in the line,
lips
move
not."
The
when not
text,
by the concurrent
in
dramatic art
that
its
silence leaves
something
234
who
will gener-
The cry
not
generally false in
its
action
normal condi-
When
the
excessive sensation
produced by
some remarkable impression so agitates the muscular system that normal action
is
destroyed, and
movement
takes
and controlled
movement
of the voice
and
ter-
ridicule.
Uiift
Art 0f Arttng
III, of
In Scene
II,
Act
"Romeo and
Juliet,"
to Juliet the
news of
first
Romeo
dead,
we have
Nurse
When
the
reply
is,
as
though she
believes
the
Does
tion?
But
if
we
we
shall be able
For when
Romeo
is
to hold
some time
finally
in
doubt as
to
Romeo has
Tybalt and
is
ban-
constantly accumula-
When
Juliet finally
To speak
:
that
word
Juliet,
All slain,
dead
Romeo
limit,
is
banished,
woe
There
is
no end, no
measure, bound,
sound."
Now
if
If^
Art 0f Artittg
muscular system so as to produce a broken current of voice, certainly here seems to be a cause,
moans
that
Yet
tion of being
an
artiste,
"Where
is
my
father and
my
know
if
own
griefs,
will
and she
sometimes
The
sob
is
made by
one,
movements
238
and a median
the explosion.
The cry
Silent grief
makes us
note of
and we
239
P^rB0ttal Mui^tittiBm
ality of clever
there seems
on the part
to place
them
in
fall just
little
short of infinite
power.
Sometimes a man or a
is
This
word seems
titude of
to be a generic
human
attributes, all of
genius
is
word
240
the
meaning
it
of which
is lost
in unlimited space,
because
implies
an immediate and
direct con-
to
them
indefinable
something
called
"personal magnetism."
Magnetism
that
in its original
meaning
is
a result
portion
of
quartz and
is
alumina.
The
its
influence of the
magnet
ap-
parent in
and the
magnet
is
substances influenced.
It is
magnetism" ever
It is
way.
magnetism" of any
drew
but
it is
JSift
Art 0f Arttttg
mean something;
and, in
that the
mean
by impressment through
had
the
it
attraction
is
of
Here
an impression
It is
made on
not
on
made
ers limited
artist.
This state does not answer to the state of magfnetism, which supposes an exterior force only,
itself
and
there quiescent.
The
force exerted
the physical
by the
artist,
though
it
does not
its
move
subject
and begets
242
more
of the influ-
encing force.
The only
power
effect
the ex-
pow-
mag-
is
the artist.
carried to
Not
There
called, is
it
ailj^
Art nf Arttns
move
the physical condi-
it
What,
then,
is
this force
commonly
called per-
sonal magnetism?
In those
in
whatever depart-
ment
of art,
who
exert
this influence,
may
be
nervous, active
power; the
ability to concentrate,
and hold
the
mind down
under consid-
and
for the
the subject.
We may
magnetism"
energy
of
is
nerve
and muscle,
focalizing
the
244
This power
may
or an indiscreet egotism.
of
life,
the ego
may
there
is
to be a perfect re-presenta-
The
when a man
surveys his
own
personality
245
Brama
'T^HE
^
word "drama"
is
and
signifies action
action
it
time or place.
Drama
a.
is
action,
whether
be in a church or
theatre.
The motives
of
all
drama seem
to
have been,
sources, gods
life.
and
The
first
of these spring
directly, or the
power of the
This
the Greeks.
The
full
out-pouring of
Srama
the force of the ego unlimited or uninfluenced by the
rights
of
the
other.
The
do-
mixed condition of
by
social law.
feeling
In the ancient
force
was
The
heroic
drama
and con-
fidence of
man
in himself.
is full
of questioning
and
The
theatre
is
were
built in
tocles,
who was
C.
480 B.
first,
dramatic
compositions,
but
^Ift
Art 0f Artittg
the show of
may
descriptive,
Iliad
and dramatic.
literature.
The
The
and
didactic
composition
may
No
action of
Through
the
means of
nice articula-
may
be presented.
lyric
Though
composition
may be
its full
This was
its first
The
lyric
was written
voice,
for music,
by
Srama
the process of reading,
may
tell
its
story
and
present
press
its logic,
its
The
full
meaning
of
dramatic composition,
when, to
pression,
all
is
added
action.
It is
because of the
Dramatic composition
acting of dramatic com-
must be
acted.
It is the
and
for
them
in the litera-
As
Howard
it
Payne's song,
to a place of
who
never would
act-
have
felt
the
popular
heroes and
living,
heroines of
Shakespeare,
make them
command our
life.
attention as
much
Nearly
249
I|?
still
Art 0f Arttttg
tations
in current literature,
owe
Shake-
still
literature
Of Shakespeare's contemporaries
mains
in the
field
of
action.
Beaumont and
Fletcher,
from the
to the
death
its
to dramatic literature,
shelf
mausoleum.
The
Where
the composition
is
divided into
sented by one or
more persons,
it
is
called
drama
a described or defined
is
action.
Drama
Dramas
are di-
Tra-
irama
deville,
Any
be
may
They play
There
is
no arbitrary
number
drama
three,
may
be divided.
The
made
The
who
is
Greek dramatic
performances.
The opening
Comes) as might
god
of wine
;
illustrate the
mental
elation of the
cise
was
Slf?
Art 0f Arttng
From
is
derived
signifies a
drama
and terminating
lived
is
in death.
five
Thespis,
who
more than
hundred
From
in the
Comes)
glad-
opening of their
when
all is
ness
prevail
is
derived our
number
of
titles,
in dis-
pute
among
the commentators.
is
tragedy
told
The
story and
252
irama
blance to truth as to carry conviction to the auditor
and
by
There may
be,
and
in
many
comedy
lest
incidents
and
situations
tire
the auditor
may
hero or heroine
the
The
time, the
The death
scene of
Queen Katherine
is
in Shakespeare's
"Henry VIII"
Dumas's modern
final effect
The
application,
and
all
this is tragedy.
In tragedy
matter
how
and
dis-
253
aitj?
tribute
Art 0f Artttte
mental force
of
the accumulating
the
auditor,
and thus prevent the climaxing and outof the sensation the author
is
ward expression
seeking to arouse.
For
this
in
fig-
A
case
Comedy
is
more
acts, as the
may
and incidents
life,
where the
The Farce
is
seldom tolerated
number
and
of acts
in
plot
incidents, with
characteristic dialogue, as
may make
the impres-
sion of possibilities
is
when
254
irama
reviewed through comparison with a standard of
reality,
ter.
The strength
most
fully
developed
when
it is
The
contrasts are
made
two
stronger.
is
The Burlesque
acts in length,
and
is
The
contrast,
lie
it.
When
the situation
is,
is
serious
it
may
be bur-
lesqued, that
situation
is
heightened by a
it.
serious
in acting
is
From
developed.
in con-
and there
is
always an under-
Ijr
Art 0f Arttttg
upon the personality and
is
a species of play
same
relation to tragedy
and
comedy
tic
The roman-
drama
mind out
hold
it.
The
mind
to fall
injects
the unrealthe
depend upon
its
ideal-
either tragedy or
power
256
Srama
to
lift
the
mind out
it
and entertain
with
the
picturesque
in
the
realms of imagination.
In the world of amusement everything
is legit-
Opera
is
form of melo-
drama.
like
number varying
in
the
way
this
from one
last
to five acts,
number.
Opera
music
through the
prevailing
force
of
the
liter-
Sltf^
Art 0f Arttng
Consequently, at
its
highest in
reality.
in tragic
dramas
die with
an expression of exhausted
sidence of nerve
vital force,
a sub-
muscle and
if
might
live
on for years
just at that
moment.
one,
two or three
farcical.
acts,
its
outcome
is
always
The
and
entertainment through
ridicule
satire, tickling
The
operetta
is
little
opera.
It
may
be seribe one
may
with music.
dramas are
actors,
and because
258
IS
actors
is histrio,
name
is
derived that
word
so com-
monly
in use in describing
dramatic
art, "histri-
onic/' a
novices than
among
professional actors.
word
that has
into use
name
the
"work;"
e.g., in
expression
we may say
that
it is
a special result
the outcome
in re-present-
human body
who
is
are
among
the littera-
work,
259
2FIj^
Art 0f Arttng
it
yet because
it is
should be
viz., "art."
"Work"
cludes acting.
specific
terms
if
we
special things?
An
Any
may do very
still
earnest
work
in his prepara-
and
in his acting.
sound, able-bodied
man may
man
sound, able-bodied"
matic
art.
260
I|0
iramattr iir^rtor
TJAINTING,
fine arts,
may
be executed in perfection by
director
is
an indispensable necessity to a
SIj^
strive to
Art 0f Arttttg
;
may and
the author.
Good
own
The
fail-
ure
may
result
from the
the failure
may
be
made
own
creature.
The
ine
may
it
that either of
them
is
know
him a good
part
it
Then,
too,
the
262
is
own
festation of impatience
rehearsing.
to
The aim
of a director should be
gestions,
sarto
whom
bad
the
time
is
This
and the
di-
rected.
No
if
same
actor.
in the
He
should be a
man
of
good scholarship
in-
He
harmonies of
ability to
His per-
and
263
Ij^
Art 0f Arttttg
A want of
it
courtesy on
is
destructive of the
office.
The
atre
office
is
of
Dramatic Director
office,
good
the-
a very honorable
and worthy of
it.
better
is
men than
It
made
in
producing plays,
from improper
good director
may
such
make
even
situa-
words,
lines,
or
and develop
his climaxes in
He must
describe the
264
OIIi?
iramattr
'Bxrtttttv
He must direct
through
its
re-presented.
It is
and those
whom
he
is
to direct, to
know
the play
company
together.
of his artists, he
must be punctual
to the appoint-
ed hour of rehearsal.
is
an impertito.
submit
The
who
attempts
may
be justly termed
"a martinet."
disciplinarian
must
himself.
want of
ability
and
Slf^
Art 0f Artittg
company
to re-
hearsal until he
named
appointed time.
To
artist,
man and
spend
an hour with these subordinate departments before the rehearsal, and, by this course, avoid
The
first call
of the
company
is
of assembling
all
thereby to
know
if
season.
This
call
made
At
at least one
day
make
the sev-
266
Ij^
eral tions
Sramaltr
IBxrtttttr
among
those
who
At
new,
At a
the
first
new
play, their
members
parts.
The
time that
may
be lost
when
the
actor
tries
it
when
the
part
character he
is
to assume.
The
actor cannot do
is
while he
hunting
when
they are
men.
The tendency
is
toward
refinement.
The study
267
Ijr
thors
life.
Art nf Arttttg
is
art
and
Dramatic
artists
are,
therefore,
lives
and
to
owe
to the dramatic
company
courtesy, as a scholar
and a gentleman,
and
collectively,
owe
to
all
When
work
in the condi-
which ignor-
268
Ij^
iramattr Sir^rtnr
has thrown
by their individual
sonal aggrandizement.
not a study of
their
words and
lines
(those
may
may know
words he
is
to speak and,
in
dramatic value.
full
and
at all
and
to read
and
recite in
a slovenly or care-
less
self;
way
who
intention
and
this
cannot be unless a
full illustra-
True
artists
and those
who
full
memorized the
lines in a
269
Sij^
Art
ttf
Arltttg
it is
new
actor
play.
In an old play
to the author
owes
and to the
and rehearse,
comer or novice
in the play
may
be able to com-
By
save themselves
much
feeling.
Good
liable
and therefore
than
is
business
competitive
work
of strug-
man
everything that
Sensitiveness
man
is
an index
a positive merit.
sensitive
Actors
as they
who
are successful
older,
grow more
grow
and
feel so
This
Sllf^
iramattr Bxttttnv
is
diseased condition
generally
made apparent by
due
an
quickly, or
by actually cutting
This
limit.
is pitiful.
Jealousy
is
to greater development.
to higher achievements.
The
is
inten-
which he
is
best adapted.
This adaptation of
which mental
an
in-
him quickly
to perceive
and
and gesture an
Because the
SII?^
Art 0f Artiug
is
told
by several char-
are necessary
Every
and around
all
the
incidents
Some
well
constructed
climaxes
in
action
or arouse enthusiasm in
the spectator.
may
be
artists, all
cannot
make Horaeffort is
ior to
an
absurdity,
ill-
advised aspirant.
The sooner an
aspirant for
ambition
to
the
author's
situations,
masking
him
to
fill
and a
desir-
and
though
it
may
be impossible for
all
to reach the
The
among
the
members
classified,
and juvenile
first
woman;
heavy,
;
first
and second;
first
eccentric characters;
273
^\}t
Art 0f Arttng
utility;
gentleman; responsible
general
utility;
and supernumeraries.
To
fill
pany of
at least
twenty actors
is
required,
and
in
is
The "doubling"
is
scarcely
commentheatre,
first class
and
its
dramatic artist
who
is
an acknowledged leader,
new
play.
The
man and
the leading
woman
are bound
first-
to accept the
and
ability of
fall to
the lot of
may
justly be a question
may
be.
the "leading
woman,"
situations
SU}^
iramattr Wxxtttsxt
assuming
in the plays,
gen-
making
to keep
it
manager
duced.
may and
does
to the
manager
and complimentary
to themselves according to
them
in their sev-
to a
man
or
woman
proval as a dramatic
artist.
A
ity is
little
any thinking
artist that a
due
to the author.
Shakespeare has
lifted
in the
never have
their
thrown on
own
medium
of conveyance.
In the
would
upon reference
to his historical
knowledge,
275
JBift
Art nf Arttttg
fair proportion of the world's
he learns that a
Some
of the
when mere
of mental force,
shall
mask
and a thorability of
to enable
him
The following
ters in a play
cast will
were distributed
members
of a stock com-
when
276
Ifrnttl^t,
Prints
ttf
Benmark
1st
Claudius,
King of Denmark,
Son to the late, and nephew to the present, king.
Heavy Man.
Leading Man.
Hamlet,
1st
Polonius,
Laertes,
Lord Chamberlain,
1st
Old Man.
Son
to
Polonius,
1st Juvenile
Man.
Horatio,
Guildenstern, Rosencrantz,
Friend to Hamlet,
Courtiers,
2d Juvenile Man.
1st and 2d Gentlemen.
Walking
Bernardo,
Marcellus,
Priest,
1st
Officers,
Responsible Utility.
and 2d
and 2nd
Players
"Character Parts."
Eccentric Comedy.
,
Osric
1st
Grave Digger,
1st
Comedy.
2d Grave Digger,
Gertrude,
2nd Comedy.
Queen of Denmark,
daughter to
Heavy Leading
Woman
Leading Juvenile
Ophelia,
Polonius,
Woman.
2nd Old Woman.
Player Queen,
Courtiers, male and
female.
General Utility.
2nd Leading
Man
277
Mnkt-TSip
is
The
success
and often
skill
does,
impres-
sions in nature,
and
first
of the theatre
is full
of the
impressions.
The
subject
may
who have
278
who
tell
are acting
ready to
how much
saw
it.
first
who
to
own
great-
re-
may
first
impression.
he would
is
may
and
if
in his
him
Slj?
men, and a
Arl 0f Arttttg
milliner
first-class
and dressmaker
may
be truthfully pre-
Having
selected a costumer,
let
whether
to dress a
had the
the
skirts of his
more
in
harmony with
his taste.
This certainly
ridiculous than
was very
more
saw
this
in a
Had
the
artist
in
costumer, these mistakes could have been avoided. In presenting a play, the manager has the right
to
be represented in
costumes at his
280
own
expense.
There
is
respectable
artists to
management
in requiring individual
buy colors
This
is
a matter worthy of
much
but to the
may
safely be set
down
more
in
keeping with
impressions the
There
is
no reason
in
nature
why
a person
may
we know
that,
on
all
The
col-
mourning
281
differ
according to
If?
Art 0f Arttttg
In Italy the
women
brown.
once
In
mourned
in
men
in
in
docia and Armenia, celestial blue; in Egypt yellow, or the color of a dead leaf.
The Ethiopians
is
in
Each
of these colors
had originally
its
significance.
celestial blue
White
is
the
emblem
of purity;
to
we wish
go
to
dead
death
leaf;
is
man
falls
as the
gray
;
return
or
want of
On
the death
of
that
mon-
Light and
so that
it
may
first
im-
pression
made by
or comic nature of
largely
situations
will
depend
course,
Of
fashion.
is
The
man
on the stage
an
intolerable absurdity.
The gas
light
in
the
warm
and leaves a
pallid
and
unnatural hue.
Artificial coloring
must therefore
be used to give the appearance of health and naturalness to this most expressive part of the body;
but,
with
many
actors
and
ists in
to produce, not a semblance to nature in this respect, but something, the likeness of
which does
As
no pure white
283
Ij0
masses
tion
;
Art 0f Arttns
face in
its
in the
human
healthful condi-
lines in the
yet, the
shadows
would-be
And,
make-up
first
lays on a
heavy wash
of
up the
sides of
dissipation.
Then
dirt.
It is difficult to attrib-
all
times
and
even in
many
study
characteristic
expressions
the
face,
either in
lines
is
and
color, the
work
of painters
whose study
to
copy
nature correctly.
284
One can
removed by disease or
accident, as
it
sometimes
is.
A
is
small nose
it
is
weak
character, but
The noses
of the
dumb
animals
lie flat
and even
simian race, the gorilla, one sees the nose gradually rising out of the face until
it
reaches an im-
Africa.
Between the
flat,
of the individual.
The nose
285
Ij?
Art 0f Arttng
in
complexion, with
much
given to dissipation.
bespeaks clear
intellect
The
Roman
nostrils
nose
tells
of courage
its
The
and hooked
and
love of
money
Any
direct
from
little
from any
good portrait
lack of
is
shoes
may
on trying
to
in this restilted
gard, awkwardness of
movement and a
effect
and beauty
and the
286
is
unaccustomed,
While
any of the
still it
making-up
will permit;
and
may
Young
actors
who
greatly to
up
their
The
if,
actor
must be willing
to
make some
good
fasting.
He
is
287
If?
approbation
for
Art 0f Arttttg
the
ephemeral admiration of
many
instances,
is
be-
effervescing.
Such friendship
butterfly wings,
to
that depression
which
If
false stimulation.
artist,
On
the stage
let
eti-
dramatic
character assumed.
your cos-
which you
live.
is
some disadvantage
in polite society.
On
manner be
the
charm
of your individuality.
288
Ol0mpo0tti0it
TTT^HEN
^ *
let
intended to ex-
him
method
of study
artist
practice.
The
should
make
himself as familiar
all
emotions of the
human mind
tive tongue.
as he
is
289
QH}t
Art 0f Arttttg
must be
able to analyze
meaning
Every sentence
its
logical conclu-
of a
The outcome
word
or sentence.
How
shall
Here
be-
work
emo-
known
of
the
by an
It
is
sometimes as"are
serted by
those
who
that
believe
that actors
born, not
made"
some
grammar
school.
Suppose
it
would not
these
militate
undisciplined
if
might
have
been
greater artists
The
all
ages,
and
in
countries,
artists
names from
this
work
is
not
it is
a method for
The
actor
logic of the
author's sentences.
He must know
291
the mentality
If^
of the character
;
Art nf Arttng
for, if
The
tirely
lies
en-
For ex-
name,
it is
not at
artist to
hunt through
man
the
III,
Duke
was
;
King Richard
admitted on
all
human
beings, than
Shakespeare.
is
And
it is
also admitted
So,
when an
whose true
art
is
not to con-
It is
work
it
with
own
sentation.
This
much
whether they
be managers or actors.
As independence
claimed
for
is
one
of
the
attributes
I
the
American character,
trust
American actors
who
upon the
or conceptions of characters.
If
he has no right to be
is
to illustrate the
and
In a subsequent volume,
now
in preparation,
of Shakespeare's
Dra-
Characters"
have
given
analytical
studies of a
acters, in order to
show
the student
how we may
293
tji?
Art 0f Arttttg
we
are
we can and do
frequently
it
for
the
amusement and
instruction
may
what
is
really nothing
the character
ing
it
the text
field
and
situation.
;
This
is
a very dangerous
to diverge
verbal descriptions.
And
come
here
is
grows out
may
be the
in this
factor in
satis-
when
parts,
As
theory
is
is
The dra;
matic art
may
work
in
any given
direction.
be
senting his
own
individuality,
Because the
artist
but
ar-
is
not creative.
The author
if^
Art 0f Arttttg
The
actor,
and by
his art
he represents them.
Perfection
in
is
any department
but,
if
have an
art,
This book was set up. printed and BOUND BY The Nyvall Print, of NO. 1876 Broadway. New York.
CALlFPr..^^^
r,<
'''R^
IVE'^'^'^TY
STAMPED BELOW
AN INITIAL FINE OF 25 CENTS WILL BE ASSESSED FOR FAILURE TO RETURN THIS BOOK ON THE DATE DUE. THE PENALTY WILL INCREASE TO SO CENTS ON THE FOURTH DAY AND TO $1.00 ON THE SEVENTH DAY OVERDUE.
I0V
mz
^Ocf'4pyy,
2kn.'55lti
my
DEC
10
9
im
1932
A^'TO. DISC.
DEC
1936
NOV 18
ClPCllt
1988
Ann M
JUN 29
OCT
1940
194011
OCT
28 mA\ k
LD
'Jl-50m-8,-33
U.C.
BfBKELEYL/BBABJES
"'*
331044
UNIVERSITY OF CALIFORNIA
UBRARY