Shadowland (Sep 1919-Feb 1920)

SwADOWLANQ Donts" largely, I now believe, because I knew that some wag would say "Dont any of it." This should not have deterred me, for a moment's reflection. SELECTING MATERIAL If we are to "begin at the beginning," as the children say, we must begin before you, the would-be reciter, were born. By this is meant that you, as a personality, must be fitted to your selection quite as emphatically as the selection must be suited to you. In the theatrical world, the "type" or personality of the actor is necessarily considered when plays are cast and the parts assigned. For instance, no matter how much dramatic talent an actress may have, if she tipped the scales at something approximating two hundred pounds, she would never be selected to portray the lissome, fourteen-year old Juliet. Age, too, would be considered in selecting a Juliet. It is true, that with theatrical make-up and the general illusion of a footlight performance, many a mature, not to say elderly, woman has successfully played Juliet ; but most naturally theatrical managers and the public in general have a preference for a Juliet who is young in actuality. When we come to platform performances without the external assistance of make-up, lighting, scenery, costume and theatrical accessories in general, it is still more essential to consider the "type" or personality of the interpreter. This is so obvious, that you would expect the merest amateur to recognize the necessity of learning what not to attempt in the way of full impersonation ; and yet this simple ruling, dictated by common sense, is constantly disobeyed, not only by reciters who claim, alack the day! that they "never took a lesson," but many schools of expression graduate students who show by their performances that they have been trained to employ a technique which calls for these ridiculous attempts to actually look and act "like unto" characters they cannot possibly seem. To illustrate : I have in mind a woman who only recently, at a first lesson, recited Mark Twain's "The Death Disk." This calls for much narrative and some dramatic description, but its principal character is that of a young child, a girl. The interpreter, tho slight physically, is tall, angular and a woman in maturity. Could anything be more ridiculous than to see this mature woman clap her hands in an infantile manner, jump up and down and gurglingly exclaim : "That's my papa, that's my papa, that's my papa!" The result is so grotesque, that were it not presented to us in the form of art, it would be laughable ; as it is, it is pathetic. When the young lady in question was told that she could not possibly look like this child of tender years, she was rather indignant and informed us that her "child work" was the one thing for which her instructors in a school of expression and the critics especially commended her. This may seem like an extreme case, but in reality it is not so, for the reciter in general is apt to set no limitations to his or her powers, and seldom hesitates to attempt full impersonation of any and all characters. Hence, to "begin before you were born," means just this: that it is against all laws of art to attempt to really be to the eye and ear of your auditors, characters which nature has made it impossible for you to assume. The material you select to interpret, must be within your powers. In passing, it may be well to say that without make-up (and this is never legitimate for the reciter), it is easier for youth to assume old age and for old age to simulate youth ; the slight to suggest the stout than for the stout to impersonate the slim. Of course what is here has reference to sincere, dignified impersonation only. Where burlesque is intended, it is often the part of wisdom to assume a character the furthest removed from your own personality; for in just this discrepancy between the part assumed and yours, lies the absurdity. So far, what has been said applies to the physical personality only, but even where this physical personality is in keeping with the part you would interpret; that is, where you could look like the character to be manifested, vocal limitations must also be duly weighed. The character calling for heavy voice cannot be adequately interpreted by a person who has command of the lighter tones only; the reverse is also true. This short chapter is purposely left to stand by itself, that it may be well pondered ; for no amount of art can make, say, a fat, middle-aged man look like Juliet or Mary, Queen of Scots ; nor could it make a young girl in her school days even remotely resemble Falstaff. To sum up, consider your personal limitations in making your selections. All of this applies where impersonation is intended. The reciter is frequently called upon, especially in giving scenes from plays or dialogs, to interpret characters which he could not possibly resemble physically, but he may interpret them by giving a suggestive rendering of the lines where it is impossible for him to assume the character in reality. Some characters to be interpreted are so remote from the primary personality of the reciter, that even where the words have been committed to memory, it is better art to seem to be reading them from the printed page as the impression here is that you are reading from the book and not attempting to look like the character speaking. CHAPTER II. GETTING CONCEPTIONS Let us take it for granted, that you have a piece of literature in front of you, which makes a special appeal to your taste. You wish to prepare it for presentation to an audience. Clearly, the first step is to form a correct conception of its content, its meaning. It is quite generally apparent that the needed care in conception is not always taken. Quite frequently, things are said to an audience which are evidently soliloquies, and vice versa. We cannot possibly interpret that which we have not properly conceived. Of course there is only one meaning to a text ; and that is the author's ; but we may honestly differ as to what the author intended. To gain as just a conception of what the author is trying to convey as possible, let us ask ourselves in approaching any new selection the following questions : 1. Who is speaking? 2. Sex? 3. Age ? 4. Nationality? 5. Temperament? 6. Mood? 7. Degree of that mood? 8. In what language speaking? 9. Education ? 10. Environment? 11. To whom speaking? 12. Where speaking? 13. For what purpose speaking? 14. In what relationship to story ? 15. In what relationship to other characters? 16. Of what religion? 17. In what literary form? 18. In what dramatic form? Some of these questions may seem far-fetched. For instance, Religion ; but a moment's reflection will show that if in certain impersonations a Catholic is supposedly talking, it may be perfectly artistic to "cross" oneself, which no Protestant would do. (Continued next month) Par/c Fifty-Eight