Interpreters

by Carl Van Vechten

THE natural evolution of Gordon Craig's theory of the stage finally brought him to the point where he would dispense altogether with the play and the actor. The artist-producer would stand alone. Yvette Guilbert has accomplished this very feat, and accomplished it without the aid of super-marionettes. She still uses songs as her medium, but she has very largely discarded the authors and composers of these songs, recreating them with her own charm and wit and personality and brain. A song as Yvette Guilbert sings it exists only for a brief moment. It does not exist on paper, as you will discover if you seek out the printed version, and it certainly does not exist in the performance of any one else. Not that most of her songs are not worthy material, chosen as they are from the store-houses of a nation's treasures, but that her interpretations are so individual, so charged with deep personal feeling, so emended, so added to, so embellished with grunts, shrieks, squeaks, trills, spoken words, extra bars, or even added lines to the text; so performed that their performance itself constitutes a veritable (and, unfortunately, an extremely perishable) work of art. Sometimes, indeed, it has seemed to me that the genius of this remarkable Frenchwoman could express itself directly, without depending upon songs.

She could have given no more complete demonstration of the inimitability of this genius than by her recent determination to lecture on the art of interpreting songs. Never has Yvette been more fascinating, never more authoritative than during those three afternoons at Maxine Elliott's Theatre, devoted ostensibly to the dissection of her method, but before she had unpacked a single instrument it must have been perfectly obvious to every auditor in the hall that she was taking great pains to explain just how impossible it would be for any one to follow in her footsteps, for any one to imitate her astonishing career. With evident candour and a multiplicity of detail she told the story of how she had built up her art. She told how she studied the words of her songs, how she planned them, what a large part the plasticity of her body played in their interpretation, and when she was done all she had said only went to prove that there is but one Yvette Guilbert.

She stripped all pretence from her vocal method, explained how she sang now in her throat, now falsetto. "When I wish to make a certain sound for a certain effect I practise by myself until I succeed in making it. That is my vocal method. I never had a teacher. I would not trust my voice to a teacher!" Her method of learning to breathe was a practical one. She took the refrain of a little French song to work upon. She made herself learn to sing the separate phrases of this song without breathing; then two phrases together, etc., until she could sing the refrain straight through without taking a breath. Ratan Devi has told me that Indian singers, who never study vocalization in the sense that we do, are adepts in the art of breathing. "They breathe naturally and with no difficulty because it never occurs to them to distort a phrase by interrupting it for breath. They have respect for the phrase and sing it through. When you study with an occidental music teacher you will find that he will mark little Vs on the page indicating where the pupil may take breath until he can capture the length of the phrase. This method would be incomprehensible to a Hindu or to any other oriental." The wonderful breath control of Hebrew cantors who sing long and florid phrases without interruption is another case of the same kind.

Mme. Guilbert finds her effects everywhere, in nature, in art, in literature. When she was composing her interpretation of La Soularde she searched in vain for the cry of the thoughtless children as they stone the poor drunken hag, until she discovered it, quite by accident one evening at the Comédie Française, in the shriek of Mounet-Sully in Oedipe-Roi. In studying the Voyage à Bethléem, one of the most popular songs of her répertoire, she felt the need of breaking the monotony of the stanzas. It was her own idea to interpolate the watchman's cry of the hours, and to add the jubilant coda, Il est né, le divin enfant, extracted from another song of the same period. With Guilbert nothing is left to chance. Do you remember one of her most celebrated chansons, Notre Petite Compagne of Jules Laforgue, which she sings so strikingly to a Waldteufel waltz,

Je suis la femme,

On me connaît.

Her interpretation belies the lines. She has contrived to put all the mystery of the sphinx into her rendering of them. How has she done this? By means of the cigarette which she smokes throughout the song. She has confessed as much. Always on the lookout for material which will assist her in perfecting her art she has observed that when a woman smokes a cigarette her expression becomes inscrutable. Her effects are cumulative, built up out of an inexhaustible fund of detail. In those songs in which she professes to do the least she is really doing the most. Have you heard her sing Le Lien Serré and witnessed the impression she produces by sewing, a piece of action not indicated in the text of the song? Have you heard her sing L'Hotel Numero 3, one of the répertoire of the gants noirs and the old days of the Divan Japonais? In this song she does not move her body; she scarcely makes a gesture, and yet her crisp manner of utterance, her subtle emphasis, her angular pose, are all that are needed to expose the humour of the ditty. Much the same comment could be made in regard to her interpretation of Le Jeune Homme Triste. The apache songs, on the contrary, are replete with gesture. Do you remember the splendid apache saluting his head before he goes to the guillotine? Again Yvette has given away her secret: "Naturally I have deep feelings. To be an artist one must feel intensely, but I find that it is sometimes well to give these feelings a spur. In this instance I have sewn weights into the lining of the cap of the apache. When I drop the cap it falls with a thud and I am reminded instinctively of the fall of the knife of the guillotine. This trick always furnishes me with the thrill I need and I can never sing the last lines without tears in my eyes and voice."

It seems ungracious to speak of Yvette Guilbert as a great artist. She is so much less than that and so much more. She has dedicated her autobiography to God and it is certain that she believes her genius to be a holy thing. No one else on the stage to-day has worked so faithfully, or so long, no one else has so completely fulfilled her obligations to her art, and certainly no one else is so nearly human. She compasses the chasm between the artist and the public with ease. She is even able to do this in America, speaking a foreign tongue, for it has only been recently that she has learned to speak English freely and she rarely sings in our language. Her versatility, it seems to me, is limitless; she expresses the whole world in terms of her own personality. She never lacks for a method of expression for the effect she desires to give, and she gives all, heart and brains alike. Now she is raucous, now tender; have you ever seen so sweet a smile; have you ever observed so coarse a mien? She can run the gamut from a sleek priest to a child (as in C'est le Mai), from a jealous husband to a guilty wife (Le Jaloux et la Menteuse), from an apache (Ma Tête) to a charming old lady (Lisette).

It is easy to liken the art of this marvellous woman to something concrete, to the drawings of Toulouse-Lautrec or Steinlen, the posters of Chéret ... and there is indeed a suggestion of these men in the work of Yvette Guilbert. The same broad lines are there, the same ample style, the same complete effect, but there is more. In certain phases of her talent, the gamine, the apache, the gavroche, she reflects the spirit of the inspiration which kindled these painters into creation, but in other phases, of which Lisette, Les Cloches de Nantes, La Passion, or Le Cycle du Vin are the expression, you may more readily compare her style with that of Watteau, Eugene Carrière, Félicien Rops, or Boucher.... She takes us by the hand through the centuries, offering us the results of a vast amount of study, a vast amount of erudition, and a vast amount of work. In so many fine strokes she evokes an epoch. She has studied the distinction between a curtsey which precedes the recital of a fable of La Fontaine and a poem of Francis Jammes. She has closely scrutinized pictures in neglected corridors of the Louvre to learn the manner in which a cavalier lifts his hat in various periods. There are those who complain that she emphasizes the dramatic side of the old French songs, which possibly survive more clearly under more naïve treatment. Her justification in this instance is the complete success of her method. The songs serve her purpose, even supposing she does not serve theirs. But a more valid cause for grievance can be urged against her. Unfortunately and ill-advisedly she has occasionally carried something of the scientific into an otherwise delightful matinée, importing a lecturer, like Jean Beck of Bryn Mawr, to analyze and describe the music of the middle ages, or even becoming pedantic and professorial herself; sometimes Yvette preaches or, still worse, permits some one else, dancer, violinist, or singer to usurp her place on the platform. These interruptions are sorry moments indeed but such lapses are forgiven with an almost divine graciousness when Yvette interprets another song. Then the dull or scholarly interpolations are forgotten.