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.