The Dramatic Academy must be subsidised.
Of course, the Dramatic Academy would have to be subsidised, either by the Government or private individuals. The experiment is not a new one. It has been tried at the Paris Conservatoire, the National Dramatic Academy at Buda-Pesth, the theatrical school at Berlin, and the Dramatic Conservatoires in Vienna and Amsterdam. Surely it would be possible to collate the experiences of these various institutions and arrive at a basis on which to work. A committee of our leading actors and managers might be appointed to report on the matter. There is a great deal of nonsense talked about the heaven-born genius plunging into the first ranks of the profession at a bound, but, as a rule, the heaven-born genius requires a great deal of preparatory work to fit him for his profession. Mr. Grein, of the Independent Theatre, puts forward a very comprehensive plan for the working of such an academy. He proposes—(1.) The school should be open to children at thirteen. (2.) That they should pass a competitive examination. (3.) That the school should be divided into five classes, the three lower ones to be entirely preparatory. (4.) That the tuition for acting should not begin until these three classes are passed, or, in other words, that the pupil should spend four years in merely preparatory work. (5.) That if the pupil then shows no special aptitude, he should be recommended to give up all idea of the stage. (6.) That six hours a week should be bestowed on diction and acting. (7.) That at the end of the course the pupils should submit to a semi-public examination, and receive a diploma if proficient. (8.) That the co-operation of managers should be invited, and that the conduct of the school should be entrusted to one man (not an actor) under the supervision of three eminent actors or actor-managers. (9.) That the school must be endowed amply enough to tide it over the first five years of its existence, and that the fees to pupils should be made as low as possible. If a certain amount of energy and determination are brought to bear on the subject, I see no reason why it should not speedily be brought within the range of practical politics.
Mr. John Hare thinks not.
I am loath to say anything to discourage any scheme framed for the purpose of benefiting our art, but I cannot honestly say that, in my opinion, the establishment of a Dramatic Academy would, in any way, serve that purpose. The question was fully gone into by a most influential committee called together to consider the subject some ten years ago. It consisted of Mr. Irving, Mr. Boucicault, Mr. Bancroft, Mr. Vezin, Mr. Kendal, Mr. Neville, Mr. H. J. Byrne, myself, and many others. After a full discussion we found, amongst many other difficulties, it was quite impossible to find enough competent teachers who would undertake the work of instruction, so the matter fell through, and, as I do not believe in the “blind leading the blind,” I am convinced that any attempt to establish an English Dramatic Academy will prove abortive.
Mr. J. L. Toole is not quite prepared to express a decided opinion.
I am not quite prepared to express a decided opinion on the matter. I am, however, more inclined to the view that a sound provincial training will always be found the more beneficial course.
Mr. Edward Terry’s experience.