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OLGA BACLANOVA it was in the beginning. After her second picture they changed it to Baclanova. That makes her an artiste in Hollywood. Things are as simple as that.
That makes her an artiste in Hollywood, so now it's unanimous. In New York they split their gloves applauding "Carmencita and the Soldier." In the Russias, when she played "Pericola," it nearly caused a riot. Not that riots are unusual, but Baclanova's performance was. /
In Moscow when she plays "Lesitrata," the Greek lady who was among the first of the classical suffragettes, they rock the theater with huzzas. In Petrograd — that was St. Petersburg when the Little Father ruled — her "Fountain of Bachchisaray" makes them weep and tear their long Russian hair.
I mean, it's an art.
Is it an art? Or is it technique? Technique that is taught by Vladimir Nyemirovich-Dantchenko, founder with Stanislavsky of the Russian Art
Not Gloria Swanson, at the right, but Baclanova, as a Peruvian dancing girl. And again, above, as herself
Hommel
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of the
Baclanova Mounts Her
By Dorothy Spensley
Theatre. Baclanova is his protegee, darling of the Russian little theater movement, great artist of the school of realism. They're always cabling her to come home.
"Baclanova, is it foreign technique? What is it that makes your acting so different, so superb? How can you steal scene after scene from another great artist like Emil Jannings?"
Jannings Is Willing
That is just what she does in "The Street of A Sin." Jannings, apparently, is not afraid. He must rather like it, for Baclanova is to be his leading lady in "Sins of the Fathers." If that isn't fearlessness, what is?
Baclanova's throat was pale against the whiteness of her high-standing fur collar, arched upward. Her pearled teeth appeared between reddened lips.
But her secretary answered :
"No ! It is not art or technique. It is individuality. Baclanova's individuality."
Baclanova, the individual.
"In America it iss reverse from Russia." Baclanova, herself, was speaking. "In America first it iss the background of the play they sink of. The settings. Then it iss the costume they sink of. And last of all it iss the character.
"In the Moscow Art Theatre it iss here where it starts. Here iss first — " Her hands touched her solar plexus, the seat of life, the center of emotion. Anatomically speaking, her tummy. "First the character, in Russian acting ; then the costume, and last the background."
She moves with feline grace. Her legs are those of a dancer. Her eyes are those of a mystic. Blue-grey and large, slanting upward slightly at the outer tips like the Oriental. Born in Moscow of Baclanova, a father who was a sculptor, painter, violinist and director of a factory. Of a mother who was a singer.
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