The soul of the moving picture (1924)

Record Details:

Title:
The soul of the moving picture
Date:
1924
Publisher:
New York : E. P. Dutton & Company
Volume:
The soul of the moving picture
Leaf #:
000168
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
August 22, 2024
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112 The Soul of the Moving Picture the great dramatists — whoever they may be and in whatever age they may live. The great "stage people" are characterized by an abundance of spiritual wealth. Heinrich Laube was right when he said, "Mind and thought are the drama's weapons of attack." They are also the weapons of attack of the grand characters that stalk across the stage. Wallenstein, Faust, Macbeth, Lear, Hamlet — these are the characters that are sought after by the actor, for they all enjoy the very highest of spiritual wealth. The stage, the most perfect counterpart or reflection of mankind, embraces the three realms of life — Sensuality, Soul, Intellect. All those glorious figures are choked and convulsed by sensuality. Their paths lead away from sensuality and back, if possible, to pure intellectuality. That course goes so far that one of the very wildest of them remarks at the close of his career: Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is not mere chance, nor is it a histrionic whim on the part of the poet, that Faust abandons Gretchen and seeks and finds Helena. On this account the sensual impulses of the stage characters are the paths of error which lead up to the