HOW TO MAKE AN ACTOR.

Globe, Volume XXI, Issue 1695, 26 July 1879, Page 2

HOW TO MAKE AN ACTOR.

In Mr Edmund Yates’ charming new magazine, called “Time,” there is an article under the above title which we strongly advise all our theatrical readers to peruse. It is admirably written, as, indeed, are all the contributions to “Time.” Mr Yates is far too good a judge of magazine articles to admit to his periodical the ordinary “padding ” which is supplied for the suffering magazine reader generally. Every rage in “Time” is readable and entertaining, and the article we wish now to draw attention to is especially so. It describes “ How to Make an Actor " according to French ideas, and a sketch is given of the renowned artiste M. (Jot, of the Comedie Francaise, who sets to work to make dramatic students out cf the raw material at his command. M. Got goes about his work without any fuss or parade. He begins his course of domestic training as methodically as a teacher of languages or music. Ho first takes the measure of his pupils, and from long experience ho can readily form an idea of the class of characters in which they are likely to succeed.

“His first call is for the weedy youth, who, nothing loth, mounts the two or three steps that lead to the raised stage, and without a moment’s hesitation plunges into a monologue in resonant verse. It is very good, at least until Got begins to show that it is rather bad. The lines are delivered without a single slip of memory, and each finely rounded word drops, a shapely pearl of elocution, from the mouth. That ia why it seems so very good ; it reminds one of the stylo of the actors at the Francais, at whose feet, er, if not, over whose heads, in the gallery, the youth, no doubt, has so often sat. But it reminds one of them too much ; and that is why it is rather bad. It is an imitation of a manner, not of the true invigorating principle of a style. Nature at two removes instead of one ; yesterday’s ragout, fresh and savoury, warmed up, and tasting of the dish and the fire. Got, however, does not condemn; he only tells the stripling that his delivery is all right, regarding the passage as an assemblage of words, but that ho has now to consider it as an assemblage of ideas, and to penetrate to

ita deepest significance as an expression of the -working of the mind. * Soyez le personnage, or, at least, put yonraelf in his place.* Nor is this said in a preachy fashion, but with all the vivacity of the French manner. As often as not Got had acted his directions, not given them didactically ; still more often he has cast them in a tone of light banter which puts the class in good humour, and makes even the victim take kindly to his wigging. ‘Who are you?’ ‘A general, Monsieur. « Very well; look like one ; never let your men catch yon standing like that; they would mutiny in a moment—ah, no, no no, no ! I want that last passage over again. «Voyons”; you are telling a lie ; tell it properly, please; remember that lying nearly always exaggerates the accent of truth,’ (Aside, luckily for ns) ‘“C’eat ca”! very well lied. What are you doing with your hands ? Keep them quiet; they are of no use to you just now.’

Another pupil is practising in a scene from Mol6re, here rendered by the way in prose, but the pupil has not given the spirit of the play, and the following scene takes place : “Got (interrupting)—You look too spiteful, and you are not half spiteful enough. Say the words that are meant to hurt her most in your pleasant way. Put in your pins with a smile. “Arsinoe (continuing) —You can easily imagine what part I took. I did all in my power to defend you. I vindicated your conduct on the plea of your good intentions, and made myself answerable for the honesty of your heart. “ Got—Not quite right. From your tone one might almost fancy she meant it. Remember what I just said about lying ; and it is just the same of perfidy. Perfidy exaggerates the air of truth. You are not acting a real sentiment, only a simulated one.

“Arsinoe (meekly)—Oui, Monsieur. (Continuing.) Not that I think for one moment them has been any serious offence. Heaven preserve me from such a thought ! But people too easily trust the appearances of guilt ; and it is not sufficient for us to lead a blameless life if wo neglect these appearances.

“ Got—All, there she is her real self a prude ! But if you don’t mind we shall miss the discovery. Let me have that again.” Several other examples are given of the skill and patience with which M. Got trains these pupils. Can we wonder that the French are such good actors?