ACTING AS AN ART. HOW IRVING BEGAN

The practice of the art of acting is a subject difficult to treat with

the necessary brevity. Beginners are naturally anxious to know what

course they should pursue. In common with other actors, I receive

letters from young people many of whom are very earnest in their

ambition to adopt the dramatic calling, but not sufficiently alive to

the fact that success does not depend on a few lessons in declamation.

When I was a boy I had a habit which I think would be useful to all

young students. Before going to see a play of Shakespeare's I used to

form--in a very juvenile way--a theory as to the working out of the

whole drama, so as to correct my conceptions by those of the actors;

and though I was, as a rule, absurdly wrong, there can be no doubt

that any method of independent study is of enormous importance, not

only to youngsters, but also to students of a larger growth. Without

it the mind is apt to take its stamp from the first forcible

impression it receives, and to fall into a servile dependence upon

traditions, which, robbed of the spirit that created them, are apt to

be purely mischievous. What was natural to the creator is often

unnatural and lifeless in the imitator. No two people form the same

conceptions of character, and therefore it is always advantageous to

see an independent and courageous exposition of an original ideal.

There can be no objection to the kind of training that imparts a

knowledge of manners and customs, and the teaching which pertains to

simple deportment on the stage is necessary and most useful; but you

cannot possibly be taught any tradition of character, for that has no

permanence. Nothing is more fleeting than any traditional method or

impersonation. You may learn where a particular personage used to

stand on the stage, or down which trap the ghost of Hamlet's father

vanished; but the soul of interpretation is lost, and it is this soul

which the actor has to re-create for himself. It is not mere attitude

or tone that has to be studied; you must be moved by the impulse of

being; you must impersonate and not recite.

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