Knowledge from Nature
In order to master the idiosyncrasies, mannerisms, eccentricities, and habits of characters, study is essential, and for this reason it is probably best to acquire knowledge, not from imaginary heroes of fiction or drama, but from the fount of Nature.
Popular statesmen, musicians, admirals, soldiers, prelates, scientists, novelists, and famous actors walk our streets to-day, and each possesses some anomaly of expression, feature, speech, gesture, or mannerism which is distinctly his own, and distinguishes him from his kind. Just as no two leaves of a tree or petals of a flower are exact duplicates, so in mankind—no matter how subtle the anomaly—it exists, and must be fathomed and included in the portrait; delicately if it is delicate, proportionately broadly and ostentatiously as it is broad and ostentatious.
For example, there are some persons whose peculiarities are as evasive and subtle as the bouquet of a wine, the bloom of a grape. We feel their influence, we realize them to be the essence of their individuality, and yet we fail to catch and master them; while there are other persons we meet whose eccentricities flare out at us in a moment, and illuminate a character more fully and faithfully than any words.
The pouting lip, the flickering eyelid, the shrug, the drumming on the table with the fingers, the stroking of nose or chin, the revolving of thumbs, the pushing or patting of the hair, are eloquent signs that he who runs may read, and make his own. These may be called ostentatious mannerisms.
The subtle peculiarities are far more difficult to catch and convey faithfully. One man suddenly narrows his eyes and looks introspectively at you, or the mouth clinches unexpectedly over the teeth without any apparent reason. A pulse suddenly quivers into sight at the temples, and is gone again. The expression falls into repose, but that very stillness indicates a perplexing and evasive expression of temperament and individuality that you cannot catch to your own satisfaction. You may note coloring of hair, beard, mustache, &c. You may purchase their exact match, and find the likeness only a shell, because the essence that lends delicate fragrance and character has escaped you, and without it your representation, however flawless in coloring and texture, is as unsatisfactory and unreal as the marble statue to the human face and form.
Fundamental to the successful rendition of character impersonation is the cultivation of dexterity and quickness. The dumb representative must have all his regalia of wigs, beards, eyebrows, hats, helmets, cloaks, &c., well arranged, and within easy reach.
In a sense he is a conjuror—a magician. His movements must be swift as lightning. Indecision creates a jar; a pause or bungling spells failure. A small velvet-draped stand or table placed behind him, and within easy reach, with each article ready in the order wished, is essential. In the center of this should be a mirror, with a good electric light over it, but shaded as much as possible from the audience ([Fig. 1]).
Fig. 1.—Character impersonator’s stage table.
The stand must be draped in dark colors, so as to obtrude as little as possible on the audience. While in preparation, all other lights near you should be turned off, and only switched on for a moment or two the instant you are ready. The attitude should be struck in the dark, and this must be sure and swiftly taken, and absolutely in keeping with the character assumed. Avoid grease paints as far as possible.
A pianoforte or small orchestra playing some melody suitable to the impersonation will prove a most valuable adjunct to the imagination of artist and audience.
Avoid such hackneyed characters as Napoleon, the late Sir Henry Irving, the German Emperor, and similar portrayals that may be witnessed any evening at almost any vaudeville hall. An audience is frequently more amused by the imitation of types than of individuals.
Fig. 2.—The costermonger.
Fig. 3.—The lady-killing curate.
The fat saloonkeeper, the costermonger ([Fig. 2]), the blasé gentleman of fashion, the racetrack bookmaker, the ruddy countryman, the lady-killing curate ([Fig. 3]), and the typical Soap King ([Fig. 4]), the country rustic ([Fig. 5]), and many other such types are excellent studies for representation.
Fig. 4.—The soap king.
Fig. 5.—The country bumpkin.
Although the character portrayals of the costumed and wigged impersonator depend on wordless demonstrations between the items and in ordinary evening dress, the artist may announce the name of the personality to be represented, or have it worked in almanac fashion and shown to the audience as it appears.
The former method, however, is quite usual, and perhaps more suitable to drawing-room entertainments.
It may be kept in mind that this style of performance should not be unduly long, and should never exceed twelve or fifteen minutes.