THE ART OF ACTING.

Dominion, Volume 6, Issue 1741, 5 May 1913, Page 6

THE ART OF ACTING.

A PROFESSION OR A TRADE? AMERICAN AND GERMAN METHODS COMPARED. When opposing the recent application of the Actors' Union for registration. Mr. J. C. Williamson said:— "Acting is an art —a profession. It is not a trade. It is not an industry. Acting differs from the painters' or the-sculp-tors' art, because an actor creates nothing tangible. He may appeal to the heart, to the mind, to the emotions, but you can carry away nothing but memories. An actor is a living tradition, and I think if you introduce trades union '•principles into the stage you will drivo the stage back 30 years." Mr. Carl Snuermann, a successful German actor, who has been in the United States five years, expresses tho opinion that acting in Germany is a profession, while in America it is to a largo extent a business.

"It must be -remembered," said Mr. Sauermann, "that the stage is older in Germany; it has established moro traditions, aud education in tho arts is much moro cach person's portion than it is in America. Then, too, there are better and moro opportunities for learning stage-craft through tho system of repertoire theatres. At. each tliero arc a few practised and experienced repertoiro actors, aud a much larger number of 'volontaaies'—what vou might call apprentices—who receivo a small salary and the privilcgo of learning from watching rehearsals and taking small parts ..hero and there. They are the little satellites about the stars, but if they are diligent they grow np to bo planets too. As each company has a vast collection of plays, modern and classic, always in readiness, you can imagine iiow-versatile an actor in ono of the municipal theatres with their permanent stock companies becomes. Then these various companies, visit each other's towns, nerhaps, and so their actors become known to tho other managers and to the people in another town—and that, in turn, creates other openings. "But in America, what sort of a schooling do you offer your young people? Yon get a part by chance: you play it for six months or a year, and I hen—what? You have played one thing well, but what manager will take the risk that vou can play something else just as well? You are a 'type,' and until you can find something else just in ■ 'your line,' you may go tramping about the country. See all the voung men and women silting around in (he agencies from morning till nieht, waiting, wailing for someone to come in who is looking for their 'type.' They are sitting there, hungry and unhappy and eager for work, but tho manager, who has a very definite idea in .his mind of the person for whonj lie is looking to fill, let us say, the part of a waiter, passes them ail by and goes on. On the street, he sees the man lie is looking for; he hails him. What is ho doing? lie is a waiter in so-and-so's. Good: What does he get there? Would he bo willing for a few shillings a, week more, to take the part of a waiter in this play? Surely, and why not? If one can make a litrlo more money at acting a waiter than at lining a waiter, what harm to substitute (lie theatre for tho restaurant for a while? The play is over. There are no more parts for waiters, and our friends goes back to th« restaurant.

"now different it is in Germany, where you know ;ilu\iys that Hirrp is .coinotliinjr ahead for you to work for; that: everyiliins you (io or leave iimlonc will count for "or against yon. and that, so lons as yon do well and kf"M> on improving," there ivill never a need of' your taking t:> boot-blae.kiiiß or manicuring to mako a living. You may make a hit in .America one year, and not have a thins to do Ihe next. That conlrt never happen w'l'i v«tem abroad, where the least, til'!:" yon do becomes known and you e. "• reflated according to your valllC as f.'t