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im Reich aiifniiiiint. Für die endjiültijie Auswahl mögen sich die Produzenten und die verantwortlichen Regisseure in vertrauensvoller Genieinsehaftsarheit mit den Kreisen zusannneidind«>n. die die einzelnen Künstierpersönlichkeiten und ihre Fähigkeiten zu beurteilen in der Lage sind. Dazu gehören in erster Linie die Männer, die früher „als befreundete Vertreter für den einzelnen schaffenden Künstler tätig waren und auf deren individuellste Bedürfnisse Rücksicht
nahmen" und die heute fast geschlossen in dem viel hekämj)ften — Bühnennachweis anzutreffen sind.
Dann wird der "I^onf ilmproduktion aus solcher Nacliwuchspflege künstlerisch und wirtschaftlich bedeutender Gewinn erwachsen und sich vielleicht — wenigstens in gewissem Ausmaß — die Hoffnung Emil Jannings" erfüllen, daß der Tonfilm die große Zukunft des Sprechschauspielers werde.
FRESH TALENT FOR THE TALKING SCREEN
BY CARL NX/ALLAUER
PRESIDENT OF THE GERMAN STAGE ASSOCIATION
I am informed by Frank Arnau, Editor of this imposing, and in view of its clear arrangement and rieh contents. very excellent publication, that he intends in next year"s issue of the L n i Versal Film-Lexicon ( 1933 ) to develoj) furlher the biographical part by giving special consideration to the stage actors engaged at the various theatres in the country. This is a very praiseworthy and timely project, whose execution will be of Service to German film production as well as to stage artists. German film production is niainly concentrated in Berlin and Munich. It is only natural that when a picture is cast the artists who are on the spot should be selected. On the other hand, it is an undisputed fact that the German theatre outside these capitals possesses an abundance of first-class talent destined to render invaluable Services to the talking films. As one who is continuously in a position to judge the artistic merits of the provincial theatres, I know that there is a large number of stage actors and singers who are predestined for the talking screen. There are among them numerous artists of great originality, who, it is safe to predict, wtII achieve rapid popularity on the talking screen. Moreover, many of these have already proved the microgenic quality of their voices through their success in broadcasting. l'p to the present all these artists have been denied access to the film Studios. Discovering such special gifts and putting them in touch with the talking screen would unquestionably meet an existing demand, and at the same time realise the hopes and ambitions of the artists themselves. To call the producers' attention to such artists in the pages of the L'niversal Film-Lexicon is the f irst decivise step towards a systematic recruiting for
the talking film of artists engaged at the various theatres in the country.
Of course, practical results cannot be achieved without goodwill, and the collaboration of the agencies cannot be dispensed with.
In his preface to the 1932 issue of the LTniversal Film-Lexicon Frank Arnau pointed out that the present state regulated employnient agencies are unable to give satisfaction to the studio and the artists, and expressed regret over the restrictions imposed by the Employment Agencies Act in the matter of contracts. I readily agree that the task of educating for the screen a new generation of artists capable of further development is not being efficiently performed by the present method of arranging for employment. However, this is not due to the bureaucratic methods with which the Bühnennachweis is so unjustly reproached. On the contrary, special arrangements have been niade to protect the interests of the talking film, and these arrangements are entirely unaffected by such methods. If the Bühnennachweis has nevertheless failed to satisfy adequately the real requirements of the film industry that is due to the fact that hitherto they have only been asked for already established film actors resident in Berlin. The Bühnenachweis will not be in a position to sei've the film industry satisfactorily until the industry itself demands the recruitment of suitable artists from the country.
On the other hand, everyone who knows something about the subject must admit that the problem of a fresh supply of talent, which is daily becoming more urgent, cannot be solved by means of the existing "'film exchanges". The
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