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.