Billboard advertising (May 1920)

The Billboard i MME. PILAR-MO) Discourses On Value of the Silent Drama and Proper Use and Control of the Breath “The value of silent drama (otherwise pantomime) ix necessary to acting,” said its most famous exponent, Sime. PilarMorin, when seem at her static, 23 West Ninety-fourth street. “it thas been misunderstood for many years ‘and classided with a sort of rough and tumble ‘ection, clowning: and grimaces. ‘What in the difference between my art and the art of the screen? Sent drama as applied to my art and the silent drama of the screen Uf perfect in expression) are saterchangexble terms—one in photographed the other Is pot. I believe that the day i at hand when the application of the real pantomim{c art to ‘the spoken drama will prove of "the utmost im portance in awakening the soul of the artist to vibrate tn tatson “with the physical expresstm. “The principles of this art are a eclence whereby the natural expzension of the soul is obtained. One must realize that external action, erpty buslieis té-ecguby a moment of allence is superfiuows unless it is exrelative part of the emotional 1. Walch ty physical. Sach a visualization ves vitality to Inspiration and balances ‘the hody in perfect walson with thought, thus proOueing that rare and harmonious’ expression, ‘often referred to as artistic acting. “An actor Ja conscious of the contentment of ‘Ma audience and feels thelr vibrations during ake ‘him. Tt i not the aflent sitnaDut the ullent voice eloquently expressing the inner feelings of the soul and reflecting them thru the body, which gives the wonderfol virion of truth such ag no mechan~ feally spoken word posalbly could. “An aintlence ves, feels and breathes these ‘mental waves of vibrated emotions from the actor. It ia tmpossible to produce those silent moments without @ mastery of expression.” It 4g the inner speech of truth which speaks to the soul, and not wn outward symbol of words, “The stlent drama realizes the great necessity for training the body to obes the expression of thought. For instance, sappore T waddenly come across some rote petals in this book which Drings to me the vislon of happy days, of dear ‘recollections—a tender avowal of love trom Joug wince clalmed by death—end that T am ‘overcome with emotion ax my fingers caressingly touch the withered fragments. My hands and fiogers should express independently of my face ‘these emotions, which could only be produced MADAME PILAR-MORIN attention to its finer artistic phases and accomplishments: Ly vibrated breath currents passing thra the ody into the finger tips, the face uniting in the emotion to turmonize the feeling.” (lere 8 no word is spoken. ‘or gestures could not express ¢ allent drama. “In the cand playing scene in “The Repentant Pro@igal’ the son, looking over his father's boulder, tips the latter's hand off to his mother until later, when the fon bas fled from hie home, the mother cannot concentrate on the came of cards with her husband, altho gently urged by bim to play. She looks of into space, sho doesn’t ‘see Pierrot actually, but she vi ‘ig Uving spirit and nothing can redeet utter loneliness except the actual presence of her doy. In this vision of the spirit, 50 to epeck, had I Hfted myself up materially, in stead of spiritually, I would have Killed the ecene. I keep it in the idealization, I create the picture of my visiop: "It ig not x question of speech or of silence, Dut of feeling, emotion’ and expression: material or. simply physical expression destroys ‘the fituston, “An external visualization is not trom the soul. ‘The actor must have: the tears near, but under control, for if you have a great sorrow you can't talk. He must therefore feel and paint the vision of suffering thru a knowledge of controlled breath—a necessary attainment to the master of expression. "The proper uses and control of the breath with its scientific navigations are the means thra which we may navigate thought waves, feelings, emotions, vibrations and spoken sound ‘waves. A word with a sound wave bas color. ‘When I say breath I mean everything, for life fs dreath. Mentally, I eend my words in sound waves of color, using the navigation of breath to produce all thought. ‘When you have sorrow you have convulsive breath. What makes you laugh? All your inner self f full of mirth and Joy and your Dreath Ig light and airy. Some dancers are mechanical. ‘They have no lightness. In such cases I examine the breath condition, whether ‘they Dreathe abdominally or thru the nose. If the former. or downward breath, I Uft it, it were, which produces Ife—a certain Inner Ughtuess. Magnetian, one of the greatest forces an actor could possess, can be cultivated. Gut a person may. have more or less of it, ‘ neat bit of comedy; but ,: naturally. It is necessary to acquire @ eplrita‘al, not. a material, mentality, for the latter wilt never electrify’ an audience. “what do I snean by spiritual force as appiled to acting? If I were an actor and looked (Continued on page 11) THE BUSHMANS VISIT ‘Members of the editorial department of the Cincinnath offices of The Billboard enjoyed a pleasant chat with fr. and Mrs, Francly X, Bushman (Beverly Bayne), who were appearing ‘at the Lyric Theater in Ollver Morosco’s “The ‘Gtaster Thief," during a visit last week. Both ‘Mr. and Mrs, Bushman were very’ enthusiastic 4m thelr work and reveled in their return to ‘the spoken drama, tho Mfr. Bushman stated that hhe-nor any of the company had any idea of While ia New York tho big feature flim, but bad to discontinue due to ‘the fact that show became transient. However, ‘work will be remmed in pictures when the show closes some time next month. ‘Cincinnati theatergoers-and movie fans tuned ‘out here; to greet thelr idole of the screen, and the Teceptions accorded them, both socially and before the fovtlights, demonstrated the strong feeling of admiration toward them, which the couple gratefully recelved. Kate-Dier Roemer, of the same company. and her aunt, Mla ‘Macintosh, were also pléasant callers and Dressed delight upon being shown thru the pudMshing plant. $0 NELSON JUMPED IN Chicago, April 24. a taken Il the other evening, three hourn before the performance, something had to be done quick~ ly. Milo Bennett was appealed to and he rushed James Nelson into the breach, who, of course, made good. Nelson was for ve seasons with Oliver Morosco'a “Bird of Paradise” Company and is one of the ablest character actors Chlcago ever produced. “HONEY GIRL” FOR NEW YORK drawn today and open its New York engagement at the Cohan é Harrig Theater May 3. ‘Tne new sets, which were prepared for the New York opening, are being used this week ‘and are very elaborate, DRAMATIC NOTES Robert T, Haines has been engaged for jusan Lenox.”” Doris Keane bas acquired the English rights to “Martinique.” Alfred Hickman has Jolned the east of “The Passion Flower.”* Clara Joel will head the cast of “Poter Ranch," Willard Mack's new play. “Keep Wer Smiling’? will Be presented by ‘Richard Walton Tully on May 3 tn Montreal. ‘There will be no midweek matinee of the othe and Marlowe repertotre at the Shabert ‘Theater, New York. Alma Belwin, Ralph Locke, Ivan Simpson, ‘Tanno Bogislay have been engaged for tho east of ‘World of Honor. Joseph Dunn, the character actor, has gone to the ‘Tarbor “Tospttal, Brooklyn. "Afr, Dunn was with Mrs, Flake Inst season. George Barr McCutcheon and Fart Carroll have lett for Atlantic City to finish the aramatlzation of one of McCutcheon’y novels. George St. Coban wilt pr by Sam Forrest, entitled “World of Honor,’ with Mary Ryan in the leading tole, Guy Bates Post will be presentea by Richard ‘Walton Toy fo a Shakespearean production after bis tour in “The Masquerader.” Eleanor Martin played the leading femioine role in “Shavings” during the iflness of Clara Moores, who hins now returaed to the cat, Mary Matleson, who is now appearing in ‘aprial,”” x arranging for a series of spectal matinees to be given the latter part of May. Paula Shay will replace Mary Newcomb tn ‘Tip cntest 1 open caly to the members of the ‘Augustus ‘Thomas has written a play for Lou-Tellegen, entitled “Tho Blue Devil," which will have tts premiere in Wilkes @arre, Pa., May 7. “The Parple Mask" closes at’ the Booth ‘Theater May 1 and on May 3 Messrs, Shubert will present Arthur Richman’s comedy, “Not 80 Tong Ago. “The Rights of Soul,” by Giscoso, 1s to be produced next month by Grace Griswold, for ‘a newly formed company, which is to give one‘act plays only. : ‘Joba Gabriel Bjorman”? was given by the Nelghbortood Players, New York City, Aprit 24 and 25. ‘Thomas Woods Stevens directed this Ibeen -tragedy, “Susan Lenox," dramatized by George ¥. Hobart from the story by David Graham Philips, will soon be staged by the Shuberts, Alma ‘Ten will play, the title role, Leon Errol,’ by special arrangement with George 3f. Cohan, will be presented next Sep> tember by ‘Mess. Erlanger and Ziegfeld in 4 play written by Mr. Cohan, ‘The Place of the ‘Theater the Modern Community" wan discussed by TE. H. Sothern at a recent weekly Inncheon of the City Clu in Washington, D. 0, Dorly Keane nailed on’ the Sauretanta for England last Saturd wi return to America ia the fall appear in a re‘vival of? “Romance"” at one of the Shubert theaters fn New York, ° “Cha Chin Chow" closed at Parson's ‘The fn the Lifo of making of a Al THE DRAMATIC STAGE “Without neglecting its homely and prosaic businéss end, we are devoting more and more MEREDITH STUDIO RECITAL Philadelphia, April 24 —A récttal by the ote denta of the Meredith Etndlo of Dramatic Art, Jales B. Meredith, director, wifl-be given April 29.at the New Century Ciub, Four abort oneact-plays will be presented: “The Other Wo * “OountesKate,"” “Sties ‘Sotly" and. a play, “The ‘Nonentity?”" by “Anabel ‘Ture fer, with the followlog, in the caste: Hlslo Te Rieger, Siae .Kent, Ray Abram er, Tinlen Ellen Duneky. Olga Erdmed, Kathleen Ser Donough, Goodwin Donsolly, "Ir; Russell Garver, Henry J. ‘T. Ullrich, Ralph W. Flows, ‘J. C. RoMey and Manus McHugh. ACTORS’ FUND MOVES New York, Apel %—The Actors? Gund of tea Je moving to the fourth floor of the Columbla ‘Theater Bldg, at the comer of 47! street and Broadway. There will be four rooms in the new offices, in piace of the three roome now occupled. ‘Rent was raised at the present quarters on the ninth foor of the Longacre Building until the fund could no longer stand. it, end Sam Serfbner, who ie treasurer of the ‘organization, gecured’ the new location, which 8 been the oflces of Blutch Cooper.” Mr. Cooper moves is offices to the sixth floor of ‘the Columbia Building. : “FILLIES NIGHTMARE” CLOSES Boston, April 20.—Afte? an absence of 10 ‘years from Boston, Marie Dressler, in “Tillle' Nightmare,” opened at the Boston Opera Honse, but after playing two weeks was forced to close Saturday on account of poor business. Seats purchased for the holiday performance (Patriots’ Day) were exchatiged’ for Walter ‘Hampden in Shakespeare, which will open at the Opera House April 26, “The house ta dark this week, STAGING “MARY’S LAMB! Chicago, Apel 24.—Géorgs A. Bean, widely known and capable Chicago actor, is\ staging Richard Carle's “Mary's Lamb". for the Hares foot Club of the University of Wisconsin. The play will run eight nights in Madison. Mr. ‘Bean was formerly star in “A ‘Trip to Chinntown" and “The Mold and the Mommy.” ROAD TOUR UNDECIDED New-York, ‘April 23.—!Whether the all-star Lambs’ Gambol will go on the road this year ‘has not deen definitely decided. ‘The Billboard was informed: this week, but i¢ 1s possible that such a thing might happen, as it has been known to happen om several occasions ia the Past, One season the Lambe journeyed some distance from New York, and reported @ very good business too. ‘Look thra the Letter List tn this issue, There may be a letter advertived you y “a\ aaa WOULD YOU PAY TOGETRID OF THAT DRAMATIC ART JULES E. MEREDITH, Director Offers complete and thor, training: Elocation, “Dramatic Art.