PLAYS AND PLAYERS.
Chatham Street Theater, New York City, N. Y., where Robert G. Ingersoll was baptized in 1836 by his father, the Rev. John Ingersoll, who temporarily preached at the theatre, his church having been destroyed by fire.
Question. What place does the theatre hold among the arts?
Answer. Nearly all the arts unite in the theatre, and it is the result of the best, the highest, the most artistic, that man can do.
In the first place, there must be the dramatic poet. Dramatic poetry is the subtlest, profoundest, the most intellectual, the most passionate and artistic of all. Then the stage must be prepared, and there is work for the architect, the painter and sculptor. Then the actors appear, and they must be gifted with imagination, with a high order of intelligence; they must have sympathies quick and deep, natures capable of the greatest emotion, dominated by passion. They must have impressive presence, and all that is manly should meet and unite in the actor; all that is womanly, tender, intense and admirable should be lavishly bestowed on the actress. In addition to all this, actors should have the art of being natural.
Let me explain what I mean by being natural. When I say that an actor is natural, I mean that he appears to act in accordance with his ideal, in accordance with his nature, and that he is not an imitator or a copyist—that he is not made up of shreds and patches taken from others, but that all he does flows from interior fountains and is consistent with his own nature, all having in a marked degree the highest characteristics of the man. That is what I mean by being natural.
The great actor must be acquainted with the heart, must know the motives, ends, objects and desires that control the thoughts and acts of men. He must be familiar with many people, including the lowest and the highest, so that he may give to others, clothed with flesh and blood, the characters born of the poet's brain. The great actor must know the relations that exist between passion and voice, gesture and emphasis, expression and pose. He must speak not only with his voice, but with his body. The great actor must be master of many arts.
Then comes the musician. The theatre has always been the home of music, and this music must be appropriate; must, or should, express or supplement what happens on the stage; should furnish rest and balm for minds overwrought with tragic deeds. To produce a great play, and put it worthily upon the stage, involves most arts, many sciences and nearly all that is artistic, poetic and dramatic in the mind of man.
Question. Should the drama teach lessons and discuss social problems, or should it give simply intellectual pleasure and furnish amusement?
Answer. Every great play teaches many lessons and touches nearly all social problems. But the great play does this by indirection. Every beautiful thought is a teacher; every noble line speaks to the brain and heart. Beauty, proportion, melody suggest moral beauty, proportion in conduct and melody in life. In a great play the relations of the various characters, their objects, the means adopted for their accomplishment, must suggest, and in a certain sense solve or throw light on many social problems, so that the drama teaches lessons, discusses social problems and gives intellectual pleasure.
The stage should not be dogmatic; neither should its object be directly to enforce a moral. The great thing for the drama to do, and the great thing it has done, and is doing, is to cultivate the imagination. This is of the utmost importance. The civilization of man depends upon the development, not only of the intellect, but of the imagination. Most crimes of violence are committed by people who are destitute of imagination. People without imagination make most of the cruel and infamous creeds. They were the persecutors and destroyers of their fellow-men. By cultivating the imagination, the stage becomes one of the greatest teachers. It produces the climate in which the better feelings grow; it is the home of the ideal. All beautiful things tend to the civilization of man. The great statues plead for proportion in life, the great symphonies suggest the melody of conduct, and the great plays cultivate the heart and brain.
Question. What do you think of the French drama as compared with the English, morally and artistically considered?
Answer. The modern French drama, so far as I am acquainted with it, is a disease. It deals with the abnormal. It is fashioned after Balzac. It exhibits moral tumors, mental cancers and all kinds of abnormal fungi,—excrescences. Everything is stood on its head; virtue lives in the brothel; the good are the really bad and the worst are, after all, the best. It portrays the exceptional, and mistakes the scum-covered bayou for the great river. The French dramatists seem to think that the ceremony of marriage sows the seed of vice. They are always conveying the idea that the virtuous are uninteresting, rather stupid, without sense and spirit enough to take advantage of their privilege. Between the greatest French plays and the greatest English plays of course there is no comparison. If a Frenchman had written the plays of Shakespeare, Desdemona would have been guilty, Isabella would have ransomed her brother at the Duke's price, Juliet would have married the County Paris, run away from him, and joined Romeo in Mantua, and Miranda would have listened coquettishly to the words of Caliban. The French are exceedingly artistic. They understand stage effects, love the climax, delight in surprises, especially in the improbable; but their dramatists lack sympathy and breadth of treatment. They are provincial. With them France is the world. They know little of other countries. Their plays do not touch the universal.
Question. What are your feelings in reference to idealism on the stage?
Answer. The stage ought to be the home of the ideal; in a word, the imagination should have full sway. The great dramatist is a creator; he is the sovereign, and governs his own world. The realist is only a copyist. He does not need genius. All he wants is industry and the trick of imitation. On the stage, the real should be idealized, the ordinary should be transfigured; that is, the deeper meaning of things should be given. As we make music of common air, and statues of stone, so the great dramatist should make life burst into blossom on the stage. A lot of words, facts, odds and ends divided into acts and scenes do not make a play. These things are like old pieces of broken iron that need the heat of the furnace so that they may be moulded into shape. Genius is that furnace, and in its heat and glow and flame these pieces, these fragments, become molten and are cast into noble and heroic forms. Realism degrades and impoverishes the stage.
Question. What attributes should an actor have to be really great?
Answer. Intelligence, imagination, presence; a mobile and impressive face; a body that lends itself to every mood in appropriate pose, one that is oak or willow, at will; self-possession; absolute ease; a voice capable of giving every shade of meaning and feeling, an intuitive knowledge or perception of proportion, and above all, the actor should be so sincere that he loses himself in the character he portrays. Such an actor will grow intellectually and morally. The great actor should strive to satisfy himself—to reach his own ideal.
Question. Do you enjoy Shakespeare more in the library than Shakespeare interpreted by actors now on the boards?
Answer. I enjoy Shakespeare everywhere. I think it would give me pleasure to hear those wonderful lines spoken even by phonographs. But Shakespeare is greatest and best when grandly put upon the stage. There you know the connection, the relation, the circumstances, and these bring out the appropriateness and the perfect meaning of the text. Nobody in this country now thinks of Hamlet without thinking of Booth. For this generation at least, Booth is Hamlet. It is impossible for me to read the words of Sir Toby without seeing the face of W. F. Owen. Brutus is Davenport, Cassius is Lawrence Barrett, and Lear will be associated always in my mind with Edwin Forrest. Lady Macbeth is to me Adelaide Ristori, the greatest actress I ever saw. If I understood music perfectly, I would much rather hear Seidl's orchestra play "Tristan," or hear Remenyi's matchless rendition of Schubert's "Ave Maria," than to read the notes.
Most people love the theatre. Everything about it from stage to gallery attracts and fascinates. The mysterious realm, behind the scenes, from which emerge kings and clowns, villains and fools, heroes and lovers, and in which they disappear, is still a fairyland. As long as man is man he will enjoy the love and laughter, the tears and rapture of the mimic world.
Question. Is it because we lack men of genius or because our life is too material that no truly great American plays have been written?
Answer. No great play has been written since Shakespeare; that is, no play has been written equal to his. But there is the same reason for that in all other countries, including England, that there is in this country, and that reason is that Shakespeare has had no equal.
America has not failed because life in the Republic is too material. Germany and France, and, in fact, all other nations, have failed in the same way. In the sense in which I am speaking, Germany has produced no great play.
In the dramatic world Shakespeare stands alone. Compared with him, even the classic is childish.
There is plenty of material for plays. The Republic has lived a great play—a great poem—a most marvelous drama. Here, on our soil, have happened some of the greatest events in the history of the world.
All human passions have been and are in full play here, and here as elsewhere, can be found the tragic, the comic, the beautiful, the poetic, the tears, the smiles, the lamentations and the laughter that are the necessary warp and woof with which to weave the living tapestries that we call plays.
We are beginning. We have found that American plays must be American in spirit. We are tired of imitations and adaptations. We want plays worthy of the great Republic. Some good work has recently been done, giving great hope for the future. Of course the realistic comes first; afterward the ideal. But here in America, as in all other lands, love is the eternal passion that will forever hold the stage. Around that everything else will move. It is the sun. All other passions are secondary. Their orbits are determined by the central force from which they receive their light and meaning.
Love, however, must be kept pure.
The great dramatist is, of necessity, a believer in virtue, in honesty, in courage and in the nobility of human nature. He must know that there are men and women that even a God could not corrupt; such knowledge, such feeling, is the foundation, and the only foundation, that can support the splendid structure, the many pillared stories and the swelling dome of the great drama.
—The New York Dramatic Mirror, December 26, 1891.