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.
Most actors depend on climax—they save themselves for the supreme explosion. The scene opens with a slow match and ends when the spark reaches the dynamite. So, most authors fill the first act with contradictions and the last with explanations. Plots and counter-plots, violence and vehemence, perfect saints and perfect villains—that is to say, monsters, impelled by improbable motives, meet upon the stage, where they are pushed and pulled for the sake of the situation, and where everything is so managed that the fire reaches the powder and the explosion is the climax.
There is neither time, nor climate, nor soil, in which the emotions and intentions may grow. No land is plowed, no seed is sowed, no rain falls, no light glows—the events are all orphans.
No one would enjoy a sudden sunset—we want the clouds of gold that float in the azure sea. No one would enjoy a sudden sunrise—we are in love with the morning star, with the dawn that modestly heralds the day and draws aside, with timid hands, the curtains of the night. In other words, we want sequence, proportion, logic, beauty.
There are several actors in this country who are in perfect accord with nature—who appear to make no effort—whose acting seems to give them joy and rest. We do well what we do easily. It is a great mistake to exhaust yourself, instead of the subject. All great actors "fill the stage" because they hold the situation. You see them and nothing else.