Power Through Repose

by Annie Payson Call

The artificial is tension in its many trying and disagreeable phases. Art is freedom, equilibrium, rhythm,—anything and everything that means wholesome life and growth toward all that is really the good, the true, and the beautiful.

Art is immeasurably greater than we are. If we are free and quiet, the poem, the music, the picture will carry us, so that we shall be surprised at our own expression; and when we have finished, instead of being personally elated with conceited delight in what we have done, or exhausted with the superfluous effort used, we shall feel as if a strong wind had blown through us and cleared us for better work in the future.

Every genius obeys the true principle. It is because a genius is involuntarily under the law of his art that he is pervaded by its power. But we who have only talent must learn the laws of genius, which are the laws of Nature, and by careful study and steady practice in shunning all personal obstructions to the laws, bring ourselves under their sway.

Who would wish to play on a stringed instrument already vibrating with the touch of some one else, or even with the last touch we ourselves gave it. What noise, what discord, with no possible harmonies! So it is with our nerves and muscles. They cannot be used for artistic purposes to the height of their best powers while they are tense and vibrating to our own personal states or habits; so that the first thing is to free them absolutely, and not only keep them free by constant practice, but so train them that they will become perfectly free at a moment's notice, and ready to respond clearly to whatever the heart and the mind want to express.

The finer the instrument, the lighter the touch it will vibrate to. Indeed it must have a light touch to respond clearly with musical harmonies; any other touch would blur. With a fine piano or a violin, whether the effect is to be piano or fortissimo, the touch should be only with the amount of force needed to give a clear vibration, and the ease with which a fortissimo effect is thus produced is astonishing. It is only those with the most delicate touch who can produce from a fine piano grand and powerful harmonies without a blur.

The response in a human instrument to a really light touch is far more wonderful than that from any instrument made by man; and bodily effort blurs just as much more in proportion. The muscles are all so exquisitely balanced in their power for co-ordinate movement, that a muscle pulling one way is almost entirely freed from effort by the equalizing power of the antagonizing muscle; and at some rare moments when we have really found the equilibrium and can keep it, we seem to do no more than think a movement or a tone or a combination of words, and they come with so slight a physical exertion that it seems like no effort at all.

So far are we from our possibilities in this lightness of touch in the use of our bodies, that it is impossible now for most of us to touch as lightly as would, after training, bring the most powerful response. One of the best laws for artistic practice is, "Every day less effort, every day more power." As the art of acting is the only art where the whole body is used with no subordinate instrument, let us look at that with regard to the best results to be obtained by means of relief from superfluous tension. The effects of unnecessary effort are strongly felt in the exhaustion which follows the interpretation of a very exciting role. It is a law without exception, that if I absorb an emotion and allow my own nerves to be shaken by it, I fail to give it in all its expressive power to the audience; and not only do I fall far short in my artistic interpretation, but because of that very failure, come off the stage with just so much nervous force wasted. Certain as this law is, and infallible as are its effects, it is not only generally disbelieved, but it is seldom thought of at all. I must feet Juliet in my heart, understand her with my mind, and let her vibrate clearly across my nerves, to the audience. The moment I let my nerves be shaken as Juliet's nerves were in reality, I am absorbing her myself, misusing nervous force, preparing to come off the stage thoroughly exhausted, and keeping her away from the audience. The present low state of the drama is largely due to this failure to recognize and practise a natural use of the nervous force. To work up an emotion, a most pernicious practice followed by young aspirants, means to work your nerves up to a state of mild or even severe hysteria. This morbid, inartistic, nervous excitement actually trains men and women to the loss of all emotional control, and no wonder that their nerves play the mischief with them, and that the atmosphere of the stage is kept in its present murkiness. The power to work the nerves up in the beginning finally carries them to the state where they must be more artificially urged by stimulants; and when the actor is off the stage he has no self-control at all. This all means misused and over-used force. In no schools is the general influence so absolutely morbid and unwholesome, as in most of the schools of elocution and acting.

The methods by which the necessity for artificial stimulants can be overcome are so simple and so pleasant and so immediately effective, that it is worth taking the time and space to describe them briefly. Of course, to begin with, the body must be trained to perfect freedom in repose, and then to freedom in its use. A very simple way of practising is to take the most relaxed attitude possible, and then, without changing it, to recite with all the expression that belongs to it some poem or selection from a play full of emotional power. You will become sensitive at once to any new tension, and must stop and drop it. At first, an hour's daily practice will be merely a beginning over and over,—the nervous tension will be so evident,—but the final reward is well worth working and waiting for.

It is well to begin by simply inhaling through the nose, and exhaling quietly through the mouth several times; then inhale and exhale an exclamation in every form of feeling you can think of Let the exclamation come as easily and freely as the breath alone, without superfluous tension in any part of the body. So much freedom gained, inhale as before, and exhale brief expressive sentences,—beginning with very simple expressions, and taking sentences that express more and more feeling as your freedom is better established. This practice can be continued until you are able to recite the potion scene in Juliet, or any of Lady Macbeth's most powerful speeches, with an case and freedom which is surprising. This refers only to the voice; the practice which has been spoken of in a previous chapter brings the same effect in gesture.

It will be readily seen that this power once gained, no actor would find it necessary to skip every other night, in consequence of the severe fatigue which follows the acting of an emotional role. Not only is the physical fatigue saved, but the power of expression, the power for intense acting, so far as it impresses the audience, is steadily increased.