Acting under these purely artificial conditions will necessarily be cold, but the care with which the part is given will at least render it inoffensive; they are, therefore, primary considerations, and not to be despised. The exhibition, however, of artistic care does not alone constitute great acting. The inspired warmth of passion in tragedy and the sudden glow of humour in comedy cover the artificial framework with an impenetrable veil: this is the very climax of great art, for which there seems to be no other name but genius. It is then, and then only, that an audience feels that it is in the presence of a reality rather than a fiction. To an audience an ounce of genius has more weight than a ton of talent; for though it respects the latter, it reverences the former. But the creative power, divine as it may be, should in common gratitude pay due regard to the reflective; for Art is the handmaid of Genius, and only asks the modest wages of respectful consideration in payment for her valuable services. A splendid torrent of genius ought never to be checked, but it should be wisely guided into the deep channel of the stream, from whose surface it will then reflect Nature without a ripple. Genius dyes the hues that resemble those of the rainbow; Art fixes the colours that they may stand. In the race for fame purely artificial actors cannot hope to win against those whose genius is guided by their art; and, on the other hand, Intuition must not complain if, unbridled or with too loose a rein, it stumbles on the course, and so allows a well-ridden hack to distance it.
SHOULD AN ACTOR "FEEL" HIS PART
Much has been written upon the question as to whether an actor ought to feel the character he acts, or be dead to any sensations in this direction. Excellent artists differ in their opinions on this important point. In discussing it I must refer to some words I wrote in one of my early chapters:
"The methods by which actors arrive at great effects vary according to their own natures; this renders the teaching of the art by any strictly defined lines a difficult matter."There has lately been a discussion on the subject, in which many have taken part, and one quite notable debate between two distinguished actors, one of the English and the other of the French stage [Henry Irving and Mons. Coquelin]. These gentlemen, though they differ entirely in their ideas, are, nevertheless, equally right. The method of one, I have no doubt, is the best he could possibly devise for himself; and the same may be said of the rules of the other as applied to himself. But they must work with their own tools; if they had to adopt each other's they would be as much confused as if compelled to exchange languages. One believes that he must feel the character he plays, even to the shedding of real tears, while the other prefers never to lose himself for an instant, and there is no doubt that they both act with more effect by adhering to their own dogmas.
For myself, I know that I act best when the heart is warm and the head is cool. In observing the works of great painters I find that they have no conventionalities except their own; hence they are masters, and each is at the head of his own school. They are original, and could not imitate even if they would.
So with acting, no master-hand can prescribe rules for the head of another school. If, then, I appear bold in putting forth my suggestions, I desire it to be clearly understood that I do not present them to original or experienced artists who have formed their school, but to the student who may have a temperament akin to my own, and who could, therefore, blend my methods with his preconceived ideas.
Many instructors in the dramatic art fall into the error of teaching too much. The pupil should first be allowed to exhibit his quality, and so teach the teacher what to teach. This course would answer the double purpose of first revealing how much the pupil is capable of learning, and, what is still more important, of permitting him to display his powers untrammeled. Whereas, if the master begins by pounding his dogmas into the student, the latter becomes environed by a foreign influence which, if repugnant to his nature, may smother his ability.
It is necessary to be cautious in studying elocution and gesticulation, lest they become our masters instead of our servants.
These necessary but dangerous ingredients must be administered and taken in homeopathic doses, or the patient may die by being over-stimulated. But, even at the risk of being artificial, it is better to have studied these arbitrary rules than to enter a profession with no knowledge whatever of its mechanism. Dramatic instinct is so implanted in humanity that it sometimes misleads us, fostering the idea that because we have the natural talent within we are equally endowed with the power of bringing it out. This is the common error, the rock on which the histrionic aspirant is oftenest wrecked. Very few actors succeed who crawl into the service through the "cabin windows"; and if they do it is a lifelong regret with them that they did not exert their courage and sail at first "before the mast."Many of the shining lights who now occupy the highest positions on the stage, and whom the public voice delights to praise, have often appeared in the dreaded character of omnes, marched in processions, sung out of tune in choruses, and shouted themselves hoarse for Brutus and Mark Antony.
