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TRICKS OF THE SCREEN ACTOR'S TRADE
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and then one gets a glimpse of him on the stage. Last summer he spent some time acting in the Portmanteau Theater, the portable playhouse that the peregrinating Stuart Walker folds up and carries from city to city. He has appeared with the Alberti Players in several dramas, among them Hauptmann's and "Pippa Dances," a play for the highest of highbrows. He is a frequent and appreciative auditor at the performances of the Washington Square Players. All of which seems to prove him a young man of considerable catholicity of taste and an actor of versatility, who has seen the actor's art from many angles. He loves his work, loves it not _^-— ^
only well but wisely, and therefore understands it. Just the man, in short, to tell me all about it.
I found him, bathrobe bedecked, relaxing in slippered ease in his apartments after a dif f ic ult day's work at the studio, and I put my , q u e s tions
spoken drama change his methods. But, tho the changes he must make are important, they are not so many nor so great as you may be led
by some t o It is true that tors from stage sionally the
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fail in
films.
JAMES MORRISON AND DOROTHY KELLY
to him. He lighted a cigaret, smoked quietly for some moments, while arranging his thoughts, then answered carefully. "Yes," he said, "posing for the pictures does require that the actor from the
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That is not always because the requirements for screen acting are different, but because the actors are often indifferent. When they look upon acting for the camera as merely easy money, to be made by free and easy methods, they fall down. Posing for the pictures is a much more serious business than casually lending X)ne's face and reputation to a film company and collecting large sums for the loan. "Fundamentally, the two branches of the art of acting are the same; that is, they have the' same purpose — to reveal character and interpret ideas by physical