JOSEPH BLASCHECK.

Dominion, Volume 5, Issue 1462, 10 June 1912, Page 6

JOSEPH BLASCHECK.

AN INTERVIEW. "You ask me how to become a successful entertainer," said Mr. Joseph Biascheck, with one of his genial smiles. "That's rather a difficult question. I have been: before the public now for somo years, and it would puzzle mo to give ypu an infallible recipe for turning out a good entertainer. Just as tho cookery books are able to specify the ingredients lor a certain dish, so might I mention some of the necessary qualifications for an entertainer—but just as it entirely depends upon the cook to make that dish a success, so does it depend upon tho would-be entertainer to make the best use of whatever qualifications ho may possess." Is a good appearance a.necessary qualification ?—"Well, yes, a handsome appearance is a very valuable asset—but, fortunately (here there was another twinkle in jfr. Blaschcck's eye) it is not absolutely essential, or else I am afraid I should have » poor chance of success." Voice?—" Certainly, the man who wishes ta appear on the public platform must at least have a sympathetic voice."

Gesture?—"Ah, that is a very important element in the success of an artist—something which in my opinion cannot be taught. All movement on tho stage must be natural and spontaneous, and it is far better to have very few actions (without being wooden) than to have too many. To quote George Henry Lewes: 'Gesture to 1)0 eifective must, be significant, and to bo significant it must be rare. To stand still on the'stage (and not appear a guy) is Olio of tho elementary difficulties of the art and one which is rarely mastered.' Personally, I never study any particular movement when rehearsing any of my selections. If I did so I am afraid I should become self-conscious at onee, ; and my actions would become mechanical. I was much gratified some time ago to learn from a pupil of one of the leading teachers of elocution' in London. that the master had paid mo the compliment of lnstruelin" his students to attend my recitals and'watoh my gestures. This was certainly verv gratifying to me, but I should not like to know lit tho time that anyone was attending and watching me for this pur--IKCan ouo be taught to be a public entertainer? ~ ,; . , ~ D , "That is a question, said Mr. Biascheck, "that I am often asked, and one which renukes very careful consideration. Perhaps 1 can best explain what I mean bv quoting a very paradoxical remark attributed. T. believe, to Gounod—'You can only teach those who know.' Hounds strange, doesn't it? But it is quite true. No teacher can make an actor (and remember that an entertainer must be an actor) if a man who does not possess the natural ability and' the necessary mtelli"enco and imitative faculty; but a teacher can teach the technicalities of the art, for no one can mako any progress until ho has mastered a certain elementary mechanism." , . "You ask me to give a word of advice to the young man who would aspire to be a public entertainer. I should advise him to hear every performer that he possibly can. Go to all the theatres and to every entertainment; caTefully note tho excellencies of every good artist and tho faults of tho indifferent ones. He will thus icarn, if ho has intelligence, what to copy and what to avoid. When I say copy, I do not mean that he should attempt to imitate. No! No! Never imitate. Imitations are always bad. When he once starts to perform he should gain all the experience he possibly can, even if he has to inflict his early attempts upon his suffering relations. As a rule he will find them the severest critics, and he will gain much by hearing the candid opinions of his friends."

Tlie Blascheck-Wrighton combination will open a short season of three nights at the Opera House to-night. This is positively the final appearance in Wellington before sailing for Africa. The repertoire has been so extended as to enthem to submit a practically new programme. The plan is at the Dresden.