Return this book on or before the Latest Date stamped below. University of Illinois Library L161—H41 POST FREE fat Great Britain =a] 6d. OR 5 CEN eke. PUBLISHERS, STRAND. BELFAST— J, NIcHoLson, 26, Church Lane, BIRMINGHAM— JAMES GuUEs', 12; Snow Hill. “WH. Suir & Son, 34, Union St. ees Via tae W. H. Smita & Son, 5, Dale Street. BRISTOL— » BK. Toteman, 2, Rupert Street. DUBLIN— Morrow’s Library, 12, Nassau St. EDINBURGH— H. Roprnson, 111-115, Leith St. GLASGGW— Wo. Love, 221, Argyie Street. LEEDS— : RK. FACKSON, 18. Commercial St. LIVERPOOL— J. BURKINSHaAW, 28-30 Colquitt Street. . MANCHESTER— JoHn HEyYWwoon, and Ridgetield. NEWCASTLE-ON-TYNE— _THomas ALLAN, 18 & 20, Blackett * Street. PLYMOUTH — W. HEARDER, 195, Union St. PRESTON— J. WATKINSON, 41, Cannon St. pee Deansgate ————_ of Lon SAMUEL FRENCH, Lrp. : 26, SOUTHAMPTON STREET, 24, WEST 22np STREET. - DURBAN— ‘ADELAIDE — se TRENUIS ACTING f ibiiion (Late Laey’s) ~ New YorK: SAMUEL FRENCH, PUBLISHER, SHEFFIELD— ) ae GEO. SLATER, 34, High St. (by. BOMBAY— » ( CALCUTTA— THACKER, SPINK & Co. MADRAS— HIGGINBOTHAM & Co., . 165, Mount Koad. SIMLA— CAPE “4s GOOD 'HOPE— C. Jura, Cape Town. CAPE LAW Cyrus J, MARTIN. THACKER & Co. Vaus SLATTER & Co. MELBOURNE— WILL ANDRADE * 201, Bourke Seats KE. W. CoLE, Book Arcade, K.S. Wiee & Son. CAWTHORNE & Co, NEW ZEALAND— BRAITHWAITE, Dunedin. WILDMAN & AREY, Auckland, SYDNEY— S. J. Kirsy, 440, George Street. ~: ar SS . = ~ e tx pa (Pm (— a <4 i 2 ey x 'Y = DA. i eer ee SS eee aera ae 7s : 6,000 Bins Post Free. NEW DESCRIPTIVE CATALOGUE SENT POST FREE No BOOKS EXCHANGED. ou oC Kitt = 2.000 Recitalione: Send for Cana The Guide to Selecting Plays is now published anoles entirely revised and brought up-to-date. i Price 1: va rt Ae ae ae | : ; ” 5 ‘t : Fe a f - , ~ f ’ wi aa nee t ‘ i a - 4 4 Pol i wt SCEWER YW. With a @ew to obviate the great difficulty experienced by Amateurs Acularly in country houses) in obtaining Scenery, &c., to fixin a Drawing Re and then only by considerable outlay for hire and great damage caused to wala we have decided to keep a series of mounted Coloured Scenes which are ready for immediate use or they can be had unmounted on thirty sheets of strong paper | and can be joined together or pasted on canvas or wood, according to roauiee: ment. Full directions, with diagrams shewing exact size of Back Scenes, Borders, and Wine. can bo had free om application. The following scenes ure kept in - et (ltr cate Kept in two sizes. The size of the back scene of the smaller one is nearly 10 feet long and 6% feet high, and extends with the Wings and Border to 15 feet long and 8 feet high. The back scene of the large one is 13.feet long and 9 feet high and extends | with the Wings and Border to 20 feet long and 114 ieet high. Itis not necessary to have the scene the height of the room, as blue paper-to represent sky is usually hung at the top. £8. da. Small Size, with Wings and Border complete, unmounted .. - 110 0 Ditto, mounted on canvas _... to have. They cost both time and money, but the more 7 preliminary work of this nature the youthful aspirant is ~ made to undergo, the better for him—the easier for his w) future success, iv INTRODUCTION. In accordance with the line of business which the devotee aspires to, ought to be the studies. There is no occasion for the person who aspires to the Hamlets and Othellos of the drama, wasting his time in studying Bobby Trot or Benjamin Bowbell. I would also strongly recommend all who intend following the Thespian art to “ begin at the beginning.” Don’t come out in Richard or Macbeth —no, no, begin small, Rosencrantz, Guildenstern, or the Seeond Actor are quite big enough parts for a novice. The chance of failure is samall. THE aRT OF ACTING. SESE Oe CHAPTER I. ON THE REQUISITES NECESSARY TO PERFORMERS OF Bota weXks—HrRors, Lovers, GENTLEMEN, TRADESMEN, Cuowys—Herornes, Frve Lapies, Hoypens, CHAMBER- MAIDS—CHARACTERS OF MippLE AND Otp AcE, MALE any FEMALE. 3 Tue first grand requisite for a dramatic artist, is power of mind: but this subject must be reserved for future consideration, and it is then intended to be insisted upon, and inquired into, on that extensive seale which a gift so essential to the formation of a great Actor demands. The next, which is almost equally indispensable, though as infinitely inferior, is a pertectiy distinct articulation. Some mistakenly imagine that this is always the result of a sound intonation, and power of voice. Intonation and power of voice, when accompanied by distinct articulation, are invaluable to an actor; but by no means so absolutely necessary. Classes might be multiplied at pleasure, but they will appertain, more or less to the following :— Heroes, Lovers, Gentlemen, Tradesmen, Clowns ; Hero- ines, Fine Ladies, Hoydens, Chambermaids ; Characters of Middle and Old Age, Male and Female. A sketch of the qualities necessary to each of these classes is only at present intended. Heroes.—No performer can personate a hero truly, unless did events favor him, he be capable of actually becoming a hero, or did not his reason and inclination prefer different pursuits. Let him be possessed of all this amgnetic power of mind, and his defects of voice and person must be excessive if they are unconquerable. Give him that mighty power, and adistinct articulation, 6 THE ART OF ACTING. clearness, compass, and strength of voice and athletic aud correct symmetry of person, with pliant yet pleasing features, capable of all the varieties ard the full force of expressing the various passions, and this mmaginary actor will be one who has never yet been beheld. Many per- formers, however, are on record, male and female, who, were the picture given of them by their admirers correct, who have approached, if not attained, nay surpassed this perfection. Roscius was the father of a numerous progeny; for many have assumed or willingly accepted his name. That he was the essence. of all that was perfect we must now take upon trust. Admiration, in all ages, might be more truly painted blind than Justice; like a stone cast into still water, it begins with raising a small circle, and from circle to circle spreads, till it necessarily dies away because it can extend no further. Lovers.—In the lover all the exterior charms which can steal upon and enslave the female heart, should be com- bined: a smiling, prepossessing, yet anxious face, beauty of form, elegance of manners, sweetness of voice, passionate eyes, and susceptibility of heart, should all enrapture his mistress. Add to these, the feminine beauties, graces, and accomplishments, and the description will be suitable to the other sex. Gentlemen.— The requisites to personate this character completely are many, and difficult indeed to attain; they are perfect ease of deportment, even under the most embarrassing circumstances! manners that conciliate and gain universal esteem; good breeding so disciplined as never to be thrown from its guard, or, except on the most extraordinary occasions, betrayed to the discovery of passion ; asmooth and flowing enunciation; a bland gaiety of heart that no trifles can disturb; a flattering yet not officious attention to every person present; and all those charms of address and demeanour which cannot fail to win our affections. There have been almost as few gentlemen on the stage as heroes. Tradesmen.-—In a certain sense, all the characters of middle life are affiliated to this class; but as it is not here intended to individualize them, this subdivision will be deferred. The qualities of a tradesman are such as THE ART OF ACTIN. 7 mosé performers, who have abilities for the dramatic art, may easily personate. Habit induces the mere tradesman to be stbservient in his manner, especially to the wealthy, and on extraordinary occasions, servile. He renders contradiction smooth, listens to it patiently ; intends to flatter, but does it awkwardly ; complies with any request, if his interest be not compromised; is always ready with the tradesman’s bow, not only at meeting and parting, but wherever it can be intruded; and his eye, attitudes, and slightest actions, wherever his interest is concerned, are all anxiously intent on, and subject to, that eager desire of gain, which habit has rendered a predominant passion. By the nature and extent of this, his deportment is re- gulated. His propensities appear on all occasions; but they appear slightly, earnestly, or extravagantly, in proportion to supposed loss or gain. It is not by this intended to deprecate a class of men, but to describe habits, which are inevitably fostered by barter and sale, unless counteracted by superiority of mind, or extraneous cir- cumstances—and to give a picture such as an actor, who literally personates a tradesman, ought to have in con- templation. Clowns.—Rustic appearance, vacant or gazing eyes, an open mouth, arms dangling, yet the shoulders raised, the toes turned inward, a shambling gait with a heavy step, great slowness of conception, and apparent stupidity of mind and manner, characterize the absolute clown, The varieties of this class, like the last, are interesting subjects of study for the stage, but are too frequently misunder- stood. Vary the portrait by red ribbons, coloured petticoats, timidity, and maudlin freaks, and his counterpart is seen. Heroines.—Give feminine dignity of person, and all the qualities described under the title heroes, with that per- vading force of sensibility which shall never vanquish, though it shall often endanger heroism, and the heroine will be nearly perfect. | Fine Ladies.—The fine tady’s is, or should be, even a more fascinating character on the stage, than that which has been pictured under the head Gentlemen ; for tu the almost unattainable gracefulness of the gentleman, she should add a continued playfulness, a visible coquetry, 8 THE ART OF ACTING. which though perfectly at her command should appear spontaneous, and an ample mixture of delightful caprice, which she evidently indulges only to make herself more captivating. Should the actress suffer the least vulgarity. to appear, either in walk, attitude, dress, or enunciation, the fine lady instantly vanishes. Her dress is of so much consequence, that the moment she appears her character should be visible ; and this art of dress is only to be ob- tained by the study of that which is almost simplicity itself; or would be, were she to take away a very few ornaments, tastefully selected, and adinirably piaced, by which she intends to be distinguished. Hoydens.—A hoyden exhibits herself by an impatient readiness to romp, eagerness to contradict, fretfulness if contradicted, vehement wishes to enjoy dress that is ridiculous, by exceeding the fashion, and, while absurd in manner, loud of voice, and a total stranger to good breed- ing, always evincing an air of excessive self-satisfaction. Chambermaids.—V olubility, pertness, a prevailing sense of self-importance, irksome curiosity, uncommon acuteness in all that relates to family secrets, extreme ignorance of everything beyond her sphere, impatient to prattle, timid when overawed, with a pleasure in being rude when she dare, are most of them what the chambermaid supposes to be her peculiar airs and graces. Middle and Old Age.—In the various stages of declining life, though the passions are less strong, many of the evil habits of youth become rooted, and should appear mingled with the propensities which prevail in age, among which are, anxiety concerning trifles, increasing avarice, obstinacy, a petulant inclination to contradict, a gradual disregard of good breeding, ceremony, and dress, uncon- trollable peevishness, and change of voice, walk, and carriage ; all of which qualities are to be regulated partly by age, but still more by the mental strength or debility of the character supposed. In the personification of the above classes, and of all the characters which are allied to them, the peculiar study of the actor should be directed to understand the limits of insipidity and exaggeration. Some of the delineations may appear to refer only to the mind; but a good performer well knows that the YHE ART OF ACTING. § boty is entirely regulated by that which passes in the inind; and so true an interpreter is action, that words after they are spoken, seem only to elucidate what ap- peared before, though it had been but imperfectly under- sLOOU. CHAPTER II. LETIONW—~TRAGIC, COMIC, AND UNIMPASSIONED. u Action is held to be so high a qualification, that some have affirmed it to be the first, and almost the exclusive art of an orator. This opinion is extravagant; but that appropriate action, on various occasions, produces unex- pected and forcible. effect, is daily proved, as well by orators, as stage performers. Severe investigation will, perhaps demonstrate, that the deportment of the orator and his organs of speech are equally under the guidance of the mind; that passion, what- ever its nature may be, as well as comic humour, are never forcibly and adequately expressed but when the mind, at the moment of delivery, has a strong, powerful, and clear conception of the. thoughts and passions which are personated; and that it can never accurately portray them, but when it is itself under this kind of enthusiastic impression. ‘The rules, therefore, for action and inton- ation must be intrinsically the same. All this appears to be true; but it likewise appears that the mind may partially conceive, and that, when it is either ignorant or inattentive, the organs of personifi- cation, whether of action or of intonation, are in a like proportion deficient. Every art must be studied in detail ; and only as far as itis thoroughly understood in its minute parts, can unity and perfection be the result. Different performers are found to be deficient in different ways and degrees. The person who would instruct must not be afraid to speak of too seeming trifles, or of being thought tedious; nor must the person who is in need of instruction, complain of the labour and delay of reading, before he arrives at those rules of which he thinks himself most in 19 THE ART OF ACTING. want. Knowledge, like mountains, is composed of sinal]} and seemingly insignificant particles. The great misfortune is, in the students of this and other arts, that having overcome their first impediments, they imagine themselves to be in no further need of excellence, and treat advice as ths usive imper tinence. “Action is either tragic, comic, or unimpassioned. The parts of which it is composed are standing, walking, running, attitude, and gesture; for the proper conduct of all which it is necessary to understand the use and management of the eye, the arm, the hand, the knees, legs, and feet, and the proper deportment of the whole body. To express the imperious and uncontrollable passions is the province of tragic action. It is never the intention of persons who are under the dominion of passion, to make themselves the subject of laughter. There ar many instances in which they produce this effect, unin- tentionally; but they belong to the ignoble passions, and are within the province of comic action and comic person- ages; for the same passions, when felt by persons of a different character, become dignified, terrible, and destruc- tive, and therefore cannot excite laughter. Avarice, which is, in some instances, highly comic, in others becomes the scourge and desolation of kingdoms. Many poets have well delineated the ridicule to which the jealous sometimes subject themselves; though passions of a private kind have more frequently produced scenes of tragic horror. The nature of tragic action, therefore, is energetic, daring, and impetuous, That which would be extravagant and ridiculous in persons of equal and calm minds, is frequently an appropriate, necessary, and true expression of passion. The impassioned person may be remarkably reasonable and sagacious in some parts of his behaviour, ~ even the moment preceding an act of phrenzy. Of this, remarkable instances are afforded. In Paris, wretches frantic and in the last paroxysm of despair, when about to dash themselves on the pavement, from garrets six or eight stories high, have, on several occasions, warned the passengers below to take care of themselves. A dreadful but a fine lessen this to actors; who, by the THE ART OF ACTING. | it working of the features, their gesticulations, and their whole deportment, although they appear by the words they speak to be in full possession of their understanding, may exhibit to the audience an inward convulsion of nature, that threatens and forbodes destruction. In stage personification nothing can more offend than the tame rant and composed recollection with which the crimes of passion are perpetrated. Instead of feeling and picturing the violent, frantic, and sudden emotions of passion, actors, with very few exceptions, are continually — impressed with the wretched and ignorant persuasion that a long stride, a uniform swing of the arm, and a mono- tonous clamorous bellow, are the grand requisites of a tragedian, This persuasion is so strong in them, and they are so self-satisfied, that they appear for ages to have aped each other. | This they fully conclude is all that appertains to or can be achieved by tragic action; and the spectator or the critic who should affirm there is a deficiency of knowledge and execution in any one of them, would be immediately accused of an endeavour to deprive a meritorious indt- vidual, who lies at the mercy of the public, of the means of subsistence. It is true, indeed, that any spectator or critic who shall decry performers in general terms, and not point out their defects in any clear and distinct way, by which they may be understood and corrected, ought rather to be deemed cynical than serviceable. Against _this kind of critic all pwblic men have a just right to exclaim. Were such general criticism which does not discriminate, reprobated and held in contempt, the task of a critic would then become as respectable and as beneficial as it is too often, at present, nugatory, defamatory, and destructive of good taste. It should be the first business of an actor decply to investigate each character which he pretends to perform, and imbue his whole soul with recollections never to be erased, of the number and nature of the wild starts of passion to which the character to be represented is subject: be should note them in his books, explain them to himself, and memorandum them immediately, and at that happy instant when he conceives them in their fullest force, should WAIVERSITY OF ILLINGH® LIBRARY ri 12 THE ART OF ACTING. study all the various ways in which they show themselves, and, in fact, make himself a most profound and masterly commentator on the passions, their consequences, and their marks, prognostics, and appearance. Whatalabour wouid it be thus to study no more than Macbeth, Hamlet, Lear, and Othello. Yet these characters we daily find every beardless stripling is eager to represent, and imagines he may fret and strut his hour upon the stage quite as well as another: neither is he, in general, very far from the truth. Comic acting has, likewise, its fits and starts, but of totally a different nature ; yet there is this grand similarity, that he alone can be successful who makes man his study. Excellent comic actors, howevei, far are more numerous than excellent tragedians ; and the reason appears to be _plain : men take pleasure in observing the follies of others, which follies are almost continually before their eyes; while the action of the tragic passions gives so much pain, that it is shunned, if possible, and to give peace to the mind, endeavoured to be buried in forgetfulness. Laughter can likewise be excited by oddity of action; such as may accompany almost any habit, or caprice of mind, without destroying, but rather tending to give zest to that habit, or caprice; therefore, though the follies of men are daily present to the eye, superficial observers have no knowledge of the gestures, attitudes, or demeanour, that are most usually found to appertain to each different class of humourists. There are, indeed, some general rules, that cannot be mistaken: such as that age is feeble, has bent knees, a falter- ing voice, a curbed body, and a discontented countenance ; but, the countenance excepted, these properties may as wel] belong to a man of the soundest understanding, and most rational demeanour, as to a man of the most eccentric habits. Truly to class, and effectually to personify the different gesticulations, attitudes, and modes of deportment, of the different species of humour, which generally prevail, the volume of nature must be industriously studied; and the labours of the comic performer will be no less than those of the tragedian, for they will both be endless, THE ART OF ACTING. 13 Were this-great task executed in any tolerable degree, comic actors would not be, what they almost all are, such inannerists that one of them cannot long be mistaken for another; they would so transform themselves, so embody each character, have such various modes of gesticulation, such change of demeanour, and be so entirely different each time from anything they had ever seen before, that, speaking of spectators in general, the comedian would defy them to any certainty of guess as to the name and person of the performer, unless indeed, some one actor should be so superior to all his companions in this art of transformation, that he would always betray himself by his excellence. What then should the duty of a comedian be? To note down with a keen eye, the various gesticulations, and modes of deportment, of every individual in society ; and to memorandum every turn of the face, every motion of the eye, and every posture of the body, with the turn of mind and occupation of the person to whom they belong. Were they to carry on the enquiries no further than to all the persons of whom they havesome personal knowledge, and having a character to perform, would adopt the deportment, gesticulation, grimace, look, and tone. of voice, of a different individual for every different character, suiting each with each as their judgment should direct, how infinitely greater and more delightful would the variety be, than that uniformity which at present prevails. Of unimpassioned action little need be said, more than will be found hereafter, among the remarks on genera deportment. In the following chapters of this work, the detail of action will be considered under its various heads. The intention in what has been said, is to strongly impress the importance: of this branch of study upon the mind of the actor; and to convince him, if possible, that should he neglect it, or treat it in a light and superficial manner, he never can arrive at perfection in his profession. 14 F THE ART OF ACTING. CHAPTER III. OF VARIOUS DEFECTS IN ACTION—WALK—DEMEANCUR— COMMON TO INATTENTIVE ACTORS. Previous to speaking of the more important parts of the art of acting, it may be beneficial to performers to remind them of various habitual defects, that have hitherto been frequent among them, and many of which imply a degree of folly, or of incapacity, that is highly degrading to their profession, which supposes, and indeed requires, extraordinary talents, industry, and discrimination. An actor ought to be perfectly acquainted with the story, which he takes part in relating; that is, with the plot, its progress, the intention of the author, in the whole and in every individual scene; the apartment or place in which every scene passes, and the deportment which the particular nature of that scene, and of the part he is, to take in it, requires. He should remember, conscientiously, that every fault which he commits in a new piece, of which the public yet know nothing, is attributed to the author; and that, by any inattention or mistake of his, he may bring ridicule and contempt on the piece, which are properly due to the actor. This is only urged, among other reasons, to remind and imprint upon the memories of performers, the serious and the difficult nature of their duties. . Among performers, who are favourites with the public in particular, it is far from uncommon to see them so totally forget decency, the respect due to an audience, and the con- tempt which they bring upon themselves, as to look about them, into the boxes and the pit, in order to discover either who they know, or even, sometimes, impudently to make slight nods, signs, or grins; a fault so very insolent, or so truly forgetful, not merely of public respect, but of the whole tenor of the business in which they are engaged, that it would be scarcely too severe a punishment if an audience were unanimously to rise, and insist upon the performers wh6 thus trangress, not daring to appear again for a month, and during that space of time, to lose their emoluments. I say. this is a most audacious and insulting practice, THE ART OF ACTING. 14 and betrays insensibility, consummate vanity, or rather effronterv, and great deficiency of intellect. The faults that follow are equally offensive to dramatic effect, but not to personal feeling. Pezformers are not unfrequently seen to read a letter upon the stage, and, perhaps from accident, perhaps from fright, or some passion which the scene is supposed to in- spire, they will suffer the letter to drop, and never conde- scend to pick it up again. It is needless to state the many reasons that rendar such conduct ridiculous, absurd, and unnatural.. Iti a fault for which no excuse can be offered. Of the same nature is that of the stage hero, who, ben g about to tilt with another, puts himself into an atti- tude, but first carefully, with a flourish, throws away his hat; and after the battle, walks away bareheaded to coc himself: no doubt wishing it to be supposed that he 1. too important a person, or has too feverish a brain, at such atime for him to walk with his hat on; and therefore the stage keepers are sent in the face of the audience to take it away. Is this common sense? Does it not incur the sneer of every spectator who is attentive to the conduct of the scenes ? | Swords are frequently seen left, with the same unac- countable carelessness, when the owners hear their cues for leaving the stage. In short, the neglectful and ridiculous incidents of this nature, of which performers are very frequently guilty, note a laxity of discipline, and prove, that there is no person whose nightly duty it is to superintend the whole conduct of a piece, and exact a rigid, but just decorum. The want of such a censor, such a disciplinarian, is much greater than is imagined. Going off at a wrong door, or rather where there is not supposed to be any door, or aperture, is another of the strange but still more familiar absurdities. In the mode of entering and retiring from the stage a judicious actor cannot too carefully consider what is the tone of feeling which he himself is supposed to have, in combination with that of other performers, or rather of the 16 THE ART OF ACTING. scene itself. Offence is sometimes given to a discriminating judge, by the performer's neglect of this consideration, at entering; but more frequently at forgetting, as it were, to give intimation, either by a restless look, an attitude, an approach to the door, or some other mode of intending to depart. Unless in particular cases, departure should never appear to be unexpected and abrupt; for then it is not only spiritless, but often improbable, and certainly un- meaning. To enter and retire perfectly in unison with the tone or passion of the scene, is what may be called a delicate branch of the art of acting; which though it does not require deep study, demands great attention. To tragedians and the performers of gentlemen, a short step 1s peculiarly destructive of dignity; while in cha- racters of low breeding, but of animation, it is no less a true mark of such persons. To step with measured affectation, like an opera dancer to a march, is no less laughable ; it destroys reality, for a spectator cannot but imagine he sees a foolish actor, instead of the character he ought to personify. The short step excites risibility at first, and at length contempt and weariness, when it is accompanied, as is seen in some actors, by a mechanical and uninterruptedly alter- native habit of first stepping forward and then stepping back. Among country actors this is no uncommon fault; and in the metropolitan theatres it is seen, but in a less glaring manner. The action of the arms ought to be carefully modest and restrained. There are performers who at the first sen- tence, with their right hand, and the second, with their left, continue an alternate movement through each speech. They must have taken peculiar pains to have acquired such a puppet-show mode of disposing of themselves. There are many who have a see-saw eternally monoto- nous motion and delivery, which, were nothing else seen or heard, would soon lull the patient spectator to sleep. There are others who continually shake a single finger, some two fingers, some the whole hand, but the shaking must continue while they are speaking. The frequent clenching of the fist is a favourite mode which several actors have, of endeavouring te make the THE ART OF ACTING. 17 audience believe how much they are in earnest, especially in the character of tyrants. The arms a-kimbo, is also often thought the attitude of grandeur, instead of, as it really is, the certain sign of vulgar and inflated imbecility. It is not possible to recollect, in the closet, all the various 11! habits and errors into which performers fall in their deportment. In comic actors, such mistakes are less noticed; but they are frequently quite as gross. ‘To suit the action to the word’ is, indeed, a difficult task ; for it is first highly necessary to enquire what words demand, or rather will endure action.. The arm that is always in motion is always unmeaning. In all characters where good breeding and education are supposed, great care is required; and violent action can never be proper, but to violent passion; the shades that lie between the. two extremes are what require the studious discrimination of the performer. ‘_ Comic deportment should be as various as comic cha- racters: nay, indeed, there are personal varieties, which are indicated in the sketching and filling up of every comedy; so that two tradesmen, two fathers, nay, two misers, or any other class of character, should be individualised, and have separate modes of behaviour. Among other defects there is one which is very common that of bowing and courtesying at improper times, to an audience. It appears strange that actors should have so little con- sidered the nature of dramatic exhibition, as not to have it imprinted on their minds that, when they are on the stage, they are supposed real and not fictitious persons ; and that it is an injury to scenic effect, whenever they are otherwise remembered than as the characters they represent. In this respect they should set the audience a good example; for audiences are composed of a large mixture of the illiterate, the inconsiderate, and persons educated among the vulgar, or only half informed at best, with a select few capable of distinguishing the merits of the excellent actor, and of bestowing well-deserved applause. Performers who are frequently seen in favourable char- acters must be bad indeed, if they do not become the i8 *He ART OF ACTING. dehght of the audience. When they appear, a social and pleasing gratitude bestows applause; but of this, whatever “may be the feelings of the heart, the actor should appear to know nothing; for the applause is to the person, and to notice it is totally to forget the character, which is neither living nor present. Scenic illusion is thus destroyed, and too often by that which betrays meanness of mind: for, surely, nothing can be more egotistical, or have a more pitiful humble air of begging approbation, than the manner in which performers, especially singers, will repeat their bows and courtesies, whenever they can find the slightest pretence. Like children watching for sugar-plums, they cry: ‘Oh, how sweet! Pray let me have a little more.” The beginning of a season, or on a benefit night, or whenever a person has personally to address an audience, are the chief if not the only times at which such re- ciprocal gratitude ought to be publicly expressed. Any of the injudicious acts of a mixed audience cannot authorize want of judgment, much less absurdity in an actor. CHAPTER IV. EXPRESSION OF CHARACTER.* I sHALL aow proceed to consider that very essential branch of the actor’s art, which consists in characteristic expression. Love, when successful, lights up the countenance into wulles; the forehead is smooth and enlarged ; the eye- brows are arched; the mouth a little open and smiling ; the eyes languishing and half shut, or gazing on the beloved object. The accents are soft and winning, the tone of voice persuasive, flattering, pathetic, various, musical, rapturous, asin Joy. Kneelingis often necessary in all suppliant passions; but it is only necessary to bend * Lebrun's celebrated series of plates, ‘‘The Passions of the Human Soul,” should be attentively studied by every aspirant to dramatic fame. ; THE AR O* ACTING. 19 one knee in case of love, destre, &c., which must never be the one that is next the audience. Jealousy, which is a mixture of passions, directly con- trary to one another, can only be justly represented by one who is capable of delineating all the passions by — turns. Jealousy shows itself by restlessuess, peevishness, thoughtfulness, anxiety, absence of miaa, &c. Rage or Anger expresses itself with rapidity, inter- ruption, violence, harshness, and trepidation. The neck is stretched out, the head forward, often nodding and shaking in a menacing manner against the object of the passion; the mouth open and drawn on each side towards the ears, showing the teeth in a gnashing posture; the feet often stamping; the right arm frequently thrown out menacingly, with the clenched fist shaken, and a general and violent agitation of the whole body. Hatred or Aversion, expressed to or of any person or thing that is odious to the speaker, occasions his drawing back or avoiding the approach of what he hates; the hands are at the same time thrown out spread, as if to keep it off; the face turned away from the side toward which the hands are thrown out, the eyes looking angrily. Joy, when sudden and violent, is expressed by clapping ofhands, and exulting looks; the eyes are opened wide, and on some occasions raised to Heaven; and the countenance is smiling, not composedly, but with features aggravated. Delight or Pleasure is expressed by placid looks and moderate smiles. Threatening puts on the looks and voice of reproof; brandishes and shakes the right hand; the voice strong and the accents quick. Acquitting is performed with a benevolent, tranquil countenance, and tone of voice; the right hand, if not both, open, and waived gently toward the person acquitted, expressing dismission. Condemning assumes a severe look, but mixed with pity; the sentence is to be expressed as with reluctance. Pardoning differs from acquitting, in that the latter clears a person, after a trial, of guilt; whereas the former supposes guilt, and signifies merely delivering the guilty person from punishment. 20 THE ART OF ACTING. Teaching, Explaining, or Giving Orders to an inferior, requires an air of superiority to be assumed ; the features are to be composed to an authoritative gravity; the eyes steady and open; the eyebrows a little drawn over, but not so much as to look surly or dogmatical (except in the character of a pedant); the pitch of voice must be strong and clear, the tone varying according as the emphasis required; the articulation must be distinct, the utterance slow, and the manner peremptory. Intoxication or Drunkenness, shows itself by eyes half shut, sleepy, stupid, and inflamed; an idiot smile, a ridiculous surliness, or affected bravado, mark the countenance; the words are interrupted by hiccups, and without proper articulation; the head seems too heavy for the neck; the arms dangle from the shoulders; the legs totter and bend at the knees; and a _ general incapacity exhibits human nature sunk below the brutal. The actor, in staggering, may sometimes have occasion to fall, which must be done with great adroitness, as a drunken man’s falls are generally violent. Fear, violent and sudden, opens the mouth and eyes very wide, draws down the eyebrows, gives the countenance an air of wildness, draws back the elbows parallel with the sides, lifts up the open hand (the fingers together) to the height of the breast, so that the palms face the dreadful object, as shields opposed against it; one foot is drawn back behind the other, so that the body seems shrinking from danger, and putting itself in a posture for flight; the heart beats violently, the breath is fetched quick and short, and the whole body is thrown in a general tremor. Hope brightens the countenance, arches the eyebrows, gives the eyes an eager, wistful look, half opens the mouth bends the body a little forward, spreads the arms, with the hands open, as if to receive the object of its longings. Desire expresses itself by bending the body forward, and stretching the arms toward the object as if to grasp at it; the countenance smiling, but eager and wistful; the eyes wide open; and the tone of voice suppliant, but lively and cheerful. Grief, sudden and violent, expresses itself by beating the head or forehead, tearing the hair, catching the breath, TUE ART OF ACTING, 21 as if choking; also by screaming, weeping, stamping, lifting the eyes from time to time to Heaven, and hurrying backwards and forwards. Despair bends the eyebrows downwards, clouds the forehead, rolls the eyes, and sometimes bites the lips, and gnashes with the teeth; the heart is supposed to be too much hardened to suffer the tears to flow, yet the eyeballs must be red and inflamed. When despair is supposed to drive the actor to distraction and self-murder, it can seldom or never be overacted. Forbidding draws the head backward, and holds out the hand with the palm towards the person; the voice is bold and the accents strong. Affirming, if with an oath, is expressed by lifting the open right hand, and both hands and eyes to Heaven; sometimes kneeling; but if conscience be only appealed to, the right hand is laid upon the breast. Denying is expressed by pushing the open right hand from you, and turning the face the contrary way. Refusing, when accompanied with displeasure, is done with a visible reluctance, which occasions the bringing out the words slowly, and with a shake of the head. Granting, when done with unreserved good-will, is accompanied with a benevolent aspect and tone of voice. Dismissing, with approbation, is done with a kind aspect and tone of voice; the right hand open, gently waived toward the person. With displeasure, beside the look and tone of voice which suit displeasure, the hand is hastily thrown out toward the person dismissed, the back put toward him, the countenance at the same time turned away from him. Madness, opens the eyes to a frightful wildness, rolls them hastily and wildly from object to object, distorts every feature, and appears all agitation; the voice some- times loud, and sometimes plaintive, accompanied with tears.—( Octavian in the ‘‘ Mountaineers.”’) Promising is expressed by benevolent looks; the nod of consent, and the open hands gently moved towards the person to whom the promise is made, the palms up- wards ; the sincerity of the promise may be expressed by laying the right hand gently upon the breast. 22 THE ART OF ACTING. Affectation displays itself in a thousand differem g?s- tures, motions, airs, and looks, according to the charactor. Affected characters can seldom be overacted.* Sloth appears by yawning, dozing; the head dangling sometimes on one side, sometimes on the other; the arms stretched out; the eyes heavy, and sometimes closed; the words drawling out, scarcely audible, and sometimes broken off; people who walk in their sleep (Lady Macbeth) appear as if in a dream, with their eyes open. Fatigue gives a general languor to the body; the countenance is dejected; the arms listless; and the legs, are dragged heavily along, and seem at every step to bend under the weight of the body. The voice is weak. Duty and espect for a parent or superior, put on the look and gesture of modesty. Giving, Inviting, Soliciting, and such like actions, which suppose some degree of affection, real or pretended, are accompanied with much the same looks and gestures as express love, but more moderate ; in soliciting it is fre- quently necessary to kneel, and speak with ardour. Wonder or Amazement opens the eyes, sometimes raising them, but oftener, and more expressively, fixing them on the object, if visible, with the look (except the wildness) of Frar. If the hands hold anything at the time when the object of wonder appears, they let it drop, unconsciously; the whole body fixes in a contracted, stoop- ing posture, the mouth open, and the hands held up extended. Admiration, a mixed passion, consisting of wonder and love, or esteem, takes away the familiar gesture and ex- pression of love, but keeps the respectful look and attitude. Gratitude puts on an aspect full of complacency or love; if the object thereof be a character greatly superior, it expresses much modesty and submission; the right hand pressed upon the breast accompanies the expression of sincere and hearty sensibility of obligation. Curiosity, as of a busy-body, opens the eyes and mouth ; lengthens the neck; bends the body forward; and fixes * This maxim may seem doubtful, but the success of Lord Dundreary seems to vindicate its truth. THE ART OF ACTING. 23 it in one posture, with that of admiration, assuming alter- nately the look of Hope, Desire, Attention, &c. Persuasion puts on the look of moderate love; its accents are soft, flattering, emphatic, and articulate. Dotage, Infirmity, or Old Age, shows itself by hollow- ness of eyes and cheeks, dimness of sight, deafness and tremor of voice, hams weak, knees tottering, hands or head paralytic, hollow coughing, frequent expectoration, breathless wheezing, occasional groaning, and the body stooping under an insupportable load of years. Absence of Mind displays an inattention to what passes, and commits every mistake with a seeming unconscious- ness: the least appearance of art destroys the whole effect of the character. Hypocrisy has generally a smile on the face, when the erson to be deceived is present; when alone, in his soliloquies, the villain is to be portrayed in the countenance. Modesty or Submission bends the body forward; levels the eye to the breast, if not to the feet of the superior character ; the voice low, and the tone submissive. Vexation agitates the whole frame; and besides ex- pressing itself with looks, gestures, restlessness, and tone of perplexity, it adds those ef complaint, fretting and lamenting. | Pity, a mixed passion of love and grief, looks down upon the object of compassion with lifted hands ; eyebrows drawn down; mouth open, and features drawn together ; the voice is frequently to be interrupted with sighs; the hands sometimes employed in wiping the eyes; for, in some cases, a hero may even to his honour weep. Shame turns away the face from the beholder, hangs the head, casts down the eyes, draws down the eyebrows; the speech is delivered in faltering accents. Shame or Confusion, in comedy, admits of some ridicu- lous gestures and grimaces. Remorse casts down the countenance, and clouds it with anxiety; hangs down the head, draws the eyebrows down upon the eyes; the right hand beats the breast, the teeth gnash; the whole body is strained and violently agitate? Boasting, or Affecting Courage is loud, bluste~ threatening ; the eyes stare, the eyebrows draw- 24 THE ART OF ACTING. the face is red and bloated; the mouth pouts out; tha voice hollow and thundering ; the arms are set a-kimbo, the head often nodding in.a menacing manner, and the right fist clenched, brandishing, from time to time, at the person threatened; the right foot is often stamped upon the ground, the legs take longer strides, and the steps are heavy. Pride assumes a lofty look; the upper eye-lies drawn down; the mouth pouting out, mostly shut, and the lips pinched close; the words drawled out; a strut, with a slow, stiff affectation of importance; the arms are generally a-kimbo, and the legs at a distance from one another, taking large and solemn strides. Obstinacy adds to the aspect of pride, a dogged sour- ness, like that of malice. Authority opens the countenance, but draws down the -eyebrows a little, so far as to give the look of gravity. CHAPTER V. DRESS, MAKING UP, ETC.* Tue following is something like an enumeration of the dresses required for the different lines of business :— Tragedy.—The First Tragedian will require dresses for Hamlet, Richard, Macbeth, Claude Melnotte, &c., a toga, shirt and armour for Roman characters, two or three embroidered and plain shirts, a shape dress for Sir Giles Overreach, &c. 2291 Wally and the Wi 2292 Deceitful Miss Srv) 2293 Holly Tree Inn — | 2294 Up-to-date | 2295 Bit of Old Chelsea’ VOLUME 154 Enta| 2298 Prima Donna (TI berton) 2299 Lights Out (Pembei 2400 Mirror of Time | 2301 Three Blind Mice (Muskerry) 2302 Privy Council | 2303 Snowed” up wit - Duchess 2304 Acacia Cottage 2305 Fabricato 2306 Compromising Ma 2307 Rest Cure — ~ 2308 Misses Primrose’s ception “2309 Hjection ef A - Lucinda 2310 Uncle Dick’s Darli: VOLUME 155 2311 That Horrid Major 2312 Bardwell v. Pickw 2313 House of Nightin, 2314 Turtle Doves 2315 Superior Miss Pelle PARVENU PASSPORT PERFECT LOVER _ PRIVATE SECRETAR RETURN OF THE & DIGAL ROCKET ah (I SNUG | LITTLE KI SQUIRE SUNLIGHT & SHAD: TWO MR. WETHERB’ WALKER, LONDON WHEN WE WERE TWENTY-ONE WILDERNESS _ WISDOM OF FOLLY WOODBAKKOW FAr PERFECT LOVER SILVER KING WALLS OF JERICHO mt