Actors are protected and cared for in proportion that people are civilized. If the people are intelligent, educated, and have imaginations, they enjoy the world of the stage, the creations of poets, and they are thrilled by great music, and, as a consequence, respect the dramatist, the actor and the musician.
Question. It is claimed that an amendment to the law, such as is desired, will interfere with the growth of art?
Answer. No one is endeavoring to keep stars from this country. If they have American support, and the stars really know anything, the American actors will get the benefit. If they bring their support with them, the American actor is not particularly benefitted, and the star, when the season is over, takes his art and his money with him.
Managers who insist on employing foreign support are not sacrificing anything for art. Their object is to make money. They care nothing for the American actor—nothing for the American drama. They look for the receipts. It is the sheerest cant to pretend that they are endeavoring to protect art.
On the 26th of February, 1885, a law was passed making it unlawful "for any person, company, partnership or corporation, in any manner whatsoever, to prepay the transportation, or in any way assist or encourage the importation or emigration of any alien or aliens into the United States, under contract or agreement, parol or special, previous to the importation or emigration of such aliens to perform labor or services of any kind the United States."
By this act it was provided that its provisions should not apply to professional actors, artists, lecturers or singers, in regard to persons employed strictly as personal or domestic servants. The object now in view is so to amend the law that its provision shall apply to all actors except stars.
Question. In this connection there has been so much said about the art of acting—what is your idea as to that art?
Answer. Above all things in acting, there must be proportion. There are no miracles in art or nature. All that is done—every inflection and gesture—must be in perfect harmony with the circumstances. Sensationalism is based on deformity, and bears the same relation to proportion that caricature does to likeness.
The stream that flows even with its banks, making the meadows green, delights us ever; the one that overflows surprises for a moment. But we do not want a succession of floods.
In acting there must be natural growth, not sudden climax. The atmosphere of the situation, the relation sustained to others, should produce the emotions. Nothing should be strained. Beneath domes there should be buildings, and buildings should have foundations. There must be growth. There should be the bud, the leaf, the flower, in natural sequence. There must be no leap from naked branches to the perfect fruit.