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.
If necessity is the mother of invention, she is the foster-mother of
art, for the greatest actors that ever lived have drawn their early
nourishment from her breast. We learn our profession by the
mortifications we are compelled to go through in order to get a
living.
The sons and daughters of wealthy parents who have money at their
command, and can settle their weekly expenses without the assistance
of the box office, indignantly refuse to lower themselves by assuming
some subordinate character for which they are cast, and march home
because their fathers and mothers will take care of them. Well, they
had better stay there!
But whether you are rich or poor, if you would be an actor begin at
the beginning. This is the old conventional advice, and is as good
now in its old age as it was in its youth. All actors will agree in
this, and as Puff says, in the _Critic_, "When they do agree on the
stage the unanimity is wonderful." Enroll yourself as a "super" in
some first-class theatre, where there is a stock Company and likely to
be a periodical change of programme, so that even in your low degree
the practice will be varied. After having posed a month as an
innocent English rustic, you may, in the next play, have an
opportunity of being a noble Roman. Do the little you have to do as
well as you can; if you are in earnest the stage-manager will soon
notice it and your advancement will begin at once. You have now made
the plunge, the ice is broken; there is no more degradation for you;
every step you take is forward.
A great American statesman said, "There is always plenty of room at
the top." So there is, Mr. Webster, after you get there. But we must
climb, and climb slowly too, so that we can look back without any
unpleasant sensations; for if we are cast suddenly upon the giddy
height our heads will swim and down we shall go. Look also at the
difficulties that will beset you by beginning "at the top." In the
first place, no manager in his senses will permit it; and if he did,
your failure--which is almost inevitable--not only will mortify you,
but your future course for some time to come will be on the downward
path. Then, in disgust, sore and disheartened, you will retire from
the profession which perhaps your talents might have ornamented if
they had been properly developed.