Mrs. Patrick Campbell learned enough about how to move about and how to speak in the country houses she frequented before she began her professional career to enable her immediately to take a position of importance on the stage. It does not seem necessary, indeed, that the training for any career should be prescribed or systematic. Some men get their training one way and some another. A school of acting may be of the greatest benefit to A, while B will not profit by it. Some actors are ruined by stock companies; others are improved by them. The geniuses in this interpretative art as in all the other interpretative and creative arts, seem to rise above obstructions, and to make themselves felt, whatever difficulties are put in their way.

Some great actors, like some great musicians and authors, create out of their fulness. They cannot explain; they do not need to study; they create by instinct. Others, like Beethoven and Olive Fremstad, work and rework their material in the closet until it approaches perfection, when they expose it. To say that there are bad actors following in the footsteps of both these types of geniuses is to be axiomatic and trite. It would be a foregone conclusion. Just as there are musicians who write as easily as Mozart but who have nothing to say, so there are other musicians who write and rewrite, work and rework, study and restudy, and yet what they finally offer the public has not the quality or the force or the inspiration of a common gutter-ballad.

It has also been urged in print that as naturalness is the goal of the actor he should never have to strive for it. The names of Frank Reicher and John Drew are often mentioned as those of men who "play themselves" on the stage. A most difficult thing to do! Also an unfortunate choice of names. Each of these artists has undergone a long and arduous apprenticeship in order to achieve the natural method which has given him eminence in his career. Indeed, of all the qualities of the actor this is the least easy to acquire.

Actors are often condemned because they are not versatile. Versatility is undoubtedly an admirable quality in an actor, valuable, especially to his manager, but hardly an essential one. An artist is not required to do more than one thing well. Vladimir de Pachmann specializes in Chopin playing, but Arthur Symons once wrote that "he is the greatest living pianist, because he can play certain things better than any other pianist can play anything." Should we not allot similar approval to the actor or actress who makes a fine effect in one part or in one kind of part? I should not call Ellen Terry a versatile actress, but I should call her a great artist. Marie Tempest is not versatile, unless she should be so designated for having made equal successes on the lyric and dramatic stages, but she is one of the most satisfying artists at present appearing before our public.

Mallarme was not versatile; Cezanne was not versatile; nor was Thomas Love Peac.o.c.k. Mascagni, a.s.suredly, is not versatile. The da Vincis and Wagners are rare figures in the history of creative art just as the Nijinskys and Rachels are rare in the history of interpretative art.

Someone may say that the great actor dies while the play goes thundering on through the ages on the stage and in everyman's library.

This very point, indeed, is made by Mr. Lewes. But this, alas, is the reverse of the truth. We have competent and immensely absorbing records of the lives and art of David Garrick, Mrs. Siddons, Ristori, Clairon, Rachel, Charlotte Cushman, Edwin Booth, and other prominent players, while most of the plays in which they appeared are not only no longer actable, but also no longer readable. The brothers de Goncourt, for example, wrote an account of Clairon which is a book of the first interest, while I defy any one to get through two pages of most of the fustian she was compelled to act! The reason for this is very easily formulated. Great acting is human and universal. It is eternal in its appeal and its memory is easily kept alive while playwrighting is largely a matter of fashion, and appeals to the mob of men and women who never read and who are more interested in police news than they are in poetry. George Broadhurst or Henry Bernstein or Arthur Wing Pinero, or others like them, have always been the popular playwrights; a few names like Sophocles, Terence, Moliere, Shakespeare, and Ibsen come rolling down to us, but they are precious and few.

A great actor, indeed, can put life into perfectly wooden material. In the case of Sarah Bernhardt, who was the creator, the actress or Sardou? In the case of Henry Irving, who was the creator, the actor or the authors of _The Bells_ and _Faust_ (not, in this instance, Goethe)? Is Langdon Mitch.e.l.l's version of "Vanity Fair" sufficiently a work of art to exist without the co-operation of Mrs. Fiske? When Duse electrified her audiences in such plays as _The Second Mrs.

Tanqueray_ and _Fedora_, were the dramatists responsible for the effect? Arthur Symons says of her in the latter play, "A great actress, who is also a great intelligence, is seen accepting it, for its purpose, with contempt, as a thing to exercise her technical skill upon." One reads of Mrs. Siddone that she could move a roomful of people to tears merely by repeating the word "hippopotamus" with varying stress. Should we thank the behemoth for this miracle?

Any one who understands, great acting knows that it is illumination.

There are those who are born to throw light on the creations of the poets, just as there are others born to be poets. These interpreters give a new life to the works of the masters, aeschylus, Congreve, Tchekhov. When, as more frequently happens, they are called upon to play mediocre parts it is with their own personal force, their atmospheric aura that they create something more than the author himself ever intended or dreamed of. How could Joseph Jefferson play _Rip Van Winkle_ for thirty years (or longer) with scenery in tatters and a company of mummers which Corse Payton would have scorned? Was it because of the greatness of the play? If that were true, why is not some one else performing this drama today to large audiences? Has any one read the Joseph Jefferson acting version of _Rip Van Winkle_? Who wrote it? Don't you think it rather extraordinary that a play which apparently has given so much pleasure, and in which Jefferson was hailed as a great actor by every contemporary critic of note, as is in itself so little known? It is not extraordinary. It was Jefferson's performance of the t.i.tle role which gave vitality to the play.

Of course, there are few actors who have this power, few great actors.

What else could you expect? A critic might prove that playwriting was not an art on the majority of the evidence. Almost all the music composed in America could be piled up to prove that music was not an art. Should we say that there is no art of painting because the Germans have no great painters?

At present, however, it is quite possible for any one in New York with car or taxi-cab fare to see one of the greatest of living actresses.

She is not playing on Broadway. This actress has never been to dramatic school; she has not had the advantages of Alla n.a.z.imova, who has worked with at least one fine stage director. She was simply born a genius, that is all; she has perfected her art by appearing in a great variety of parts, the method of Edwin Booth. Most of these parts happen to be in masterpieces of the drama. She is not unaccustomed to playing _Zaza_ one evening and d'Annunzio's _Francesca da Rimini_ the next. Her repertory further includes _La Dame aux Camelias_, _Hamlet_, _Romeo and Juliet_, _La Figlia di Iorio_, Giuseppe Giacosa's _Come le Foglie_, Sicilian folk-plays, and plays by Arturo Giovannitti. When I first saw Mimi Aguglia she was little more than a crude force, a great struggling light, that sometimes illuminated, nay often blinded, but which shone in unequal flashes. Experience has made of her an actress who is almost unfailing in her effect. If you asked her about the technique of her art she would probably smile (as Mozart and Schubert might have done before her); if you asked her about her method she would not understand you ... but she understands the art of acting.

Watch her, for instance, in the second act of _Zaza_, in the scene in which the music hall singer discovers that her lover has a wife and child. No heroics, no shrieks, no conventional posturings and shruggings and sobbing ... something far worse she exposes to us, a nameless terror. She stands with her back against a table, nonchalant and smilingly defiant, unwilling to return to the music hall with her former partner, but pleasantly jocular in her refusal. Stung into anger, he hurls his last bomb. Zaza is smoking. As she listens to the cruel words the corner of her mouth twitches, the cigarette almost falls. That is all. There is a moment's silence unbroken save by the heartbeats of her spectators. Even the babies which mothers bring in abundance to the Italian theatre are quiet. With that esoteric magnetism with which great artists are possessed she holds the audience captive by this simple gesture. I could continue to point out other astounding details in this impersonation, but not one of them, perhaps, would ill.u.s.trate Aguglia's art as does this one. If no training is necessary to produce effects of this kind, I would p.r.o.nounce acting the most holy of the arts, for then, surely, it is a direct gift from G.o.d.

_September 5, 1917._

III

The New Isadora

_"We shift and bedeck and bedrape us, Thou art n.o.ble and nude and antique;"_

Swinburne's "Dolores."

I have a fine memory of a chance description flung off by some one at a dinner in Paris; a picture of the youthful Isadora Duncan in her studio in New York developing her ideals through sheer will and preserving the contour of her feet by wearing carpet slippers. The latter detail stuck in my memory. It may or may not be true, but it could have been, _should_ have been true. The incipient dancer keeping her feet pure for her coming marriage with her art is a subject for philosophic dissertation or for poetry. There are many poets who would have seized on this idea for an ode or even a sonnet, had it occurred to them. Oscar Wilde would have liked this excuse for a poem ... even Robert Browning, who would have woven many moral strophes from this text.... It would have furnished Mr. George Moore with material for another story for the volume called "Celibates." Walter Pater might have dived into some very beautiful, but very conscious, prose with this theme as a spring-board. Huysmans would have found this suggestion sufficient inspiration for a romance the length of "Clarissa Harlowe." You will remember that the author of "En Route"

meditated writing a novel about a man who left his house to go to his office. Perceiving that his shoes have not been polished he stops at a boot-black's and during the operation he reviews his affairs. The problem was to make 300 pages of this!... Lombroso would have added the detail to his long catalogue in "The Man of Genius" as another proof of the insanity of artists. Georges Feydeau would have found therein enough matter for a three-act farce and d'Annunzio for a poetic drama which he might have dedicated to "Isadora of the beautiful feet." Sermons might be preached from the text and many painters would touch the subject with reverence. Manet might have painted Isadora with one of the carpet slippers half depending from a bare, rosy-white foot.

There are many fables concerning the beginning of Isadora's career.

One has it that the original dance in bare feet was an accident....

Isadora was laving her feet in an upper chamber when her hostess begged her to dance for her other guests. Just as she was she descended and met with such approval that thenceforth her feet remained bare. This is a pretty tale, but it has not the fine ring of truth of the story of the carpet slippers. There had been bare-foot dancers before Isadora; there had been, I venture to say, discinct "Greek dancers." Isadora's contribution to her art is spiritual; it is her feeling for the idea of the dance which isolates her from her contemporaries. Many have overlooked this essential fact in attempting to account for her obvious importance. Her imitators (and has any other interpretative artist ever had so many?) have purloined her costumes, her gestures, her steps; they have put the music of Beethoven and Schubert to new uses as she had done before them; they have unbound their hair and freed their feet; but the essence of her art, the _spirit_, they have left in her keeping; they could not well do otherwise.

Inspired perhaps by Greek phrases, by the superb collection of Greek vases in the old Pinakotheck in Munich, Isadora cast the knowledge she had gleaned of the dancer's training from her. At least she forced it to be subservient to her new wishes. She flung aside her memory of the entrechat and the pirouette, the studied technique of the ballet; but in so doing she unveiled her own soul. She called her art the renaissance of the Greek ideal but there was something modern about it, pagan though it might be in quality. Always it was pure and s.e.xless ... always abstract emotion has guided her interpretations.

In the beginning she danced to the piano music of Chopin and Schubert.

Eleven years ago I saw her in Munich in a program of Schubert _impromptus_ and Chopin _preludes_ and _mazurkas_. A year or two later she was dancing in Paris to the accompaniment of the Colonne Orchestra, a good deal of the music of Gluck's _Orfeo_ and the very lovely dances from _Iphigenie en Aulide_. In these she remained faithful to her original ideal, the beauty of abstract movement, the rhythm of exquisite gesture. This was not sense echoing sound but rather a very delightful confusion of her own mood with that of the music.

So a new grace, a new freedom were added to the dance; in her later representations she has added a third quality, strength. Too, her immediate interpretations often suggest concrete images.... A pa.s.sionate patriotism for one of her adopted countries is at the root of her fiery miming of the _Ma.r.s.eillaise_, a patriotism apparently as deep-rooted, certainly as inflaming, as that which inspired Rachel in her recitation of this hymn during the Paris revolution of 1848. In times of civil or international conflagration the dancer, the actress often play important roles in world politics. Malvina Cavalazzi, the Italian _ballerina_ who appeared at the Academy of Music during the Eighties and who married Charles Mapleson, son of the impressario, once told me of a part she had played in the making of United Italy.

During the Austrian invasion the Italian flag was _verboten_. One night, however, during a representation of opera in a town the name of which I have forgotten, Mme. Cavalazzi wore a costume of green and white, while her male companion wore red, so that in the _pas de deux_ which concluded the ballet they formed automatically a semblance of the Italian banner. The audience was raised to a hysterical pitch of enthusiasm and rushed from the theatre in a violent mood, which resulted in an immediate encounter with the Austrians and their eventual expulsion from the city.

Isadora's pantomimic interpretation of the _Ma.r.s.eillaise_, given in New York before the United States had entered the world war, aroused as vehement and excited an expression of enthusiasm as it would be possible for an artist to awaken in our theatre today. The audiences stood up and scarcely restrained their impatience to cheer. At the previous performances in Paris, I am told, the effect approached the incredible.... In a robe the colour of blood she stands enfolded; she sees the enemy advance; she feels the enemy as it grasps her by the throat; she kisses her flag; she tastes blood; she is all but crushed under the weight of the attack; and then she rises, triumphant, with the terrible cry, _Aux armes, citoyens!_ Part of her effect is gained by gesture, part by the ma.s.sing of her body, but the greater part by facial expression. In the anguished appeal she does not make a sound, beyond that made by the orchestra, but the hideous din of a hundred raucous voices seems to ring in our ears. We see Felicien Rops's _Vengeance_ come to life; we see the _sans-culottes_ following the carts of the aristocrats on the way to execution ... and finally we see the superb calm, the majestic flowing strength of the Victory of Samothrace.... At times, legs, arms, a leg or an arm, the throat, or the exposed breast a.s.sume an importance above that of the rest of the ma.s.s, suggesting the unfinished sculpture of Michael Angelo, an aposiopesis which, of course, served as Rodin's inspiration.

In the _Marche Slav_ of Tschaikovsky Isadora symbolizes her conception of the Russian moujik rising from slavery to freedom. With her hands bound behind her back, groping, stumbling, head-bowed, knees bent, she struggles forward, clad only in a short red garment that barely covers her thighs. With furtive glances of extreme despair she peers above and ahead. When the strains of _G.o.d Save the Czar_ are first heard in the orchestra she falls to her knees and you see the peasant shuddering under the blows of the knout. The picture is a tragic one, c.u.mulative in its horrific details. Finally comes the moment of release and here Isadora makes one of her great effects. She does not spread her arms apart with a wide gesture. She brings them forward slowly and we observe with horror that they have practically forgotten how to move at all! They are crushed, these hands, crushed and bleeding after their long serfdom; they are not hands at all but claws, broken, twisted piteous claws! The expression of frightened, almost uncomprehending, joy with which Isadora concludes the march is another stroke of her vivid imaginative genius.

In her third number inspired by the Great War, the _Marche Lorraine_ of Louis Ganne, in which is incorporated the celebrated _Chanson Lorraine_, Isadora with her pupils, symbolizes the gaiety of the martial spirit. It is the spirit of the cavalry riding gaily with banners waving in the wind; the infantry marching to an inspired tune. There is nothing of the horror of war or revolution in this picture ... only the brilliancy and dash of war ... the power and the glory!

Of late years Isadora has danced (in the conventional meaning of the word) less and less. Since her performance at Carnegie Hall several years ago of the _Liebestod_ from _Tristan_, which Walter Damrosch hailed as an extremely interesting experiment, she has attempted to express something more than the joy of melody and rhythm. Indeed on at least three occasions she has danced a Requiem at the Metropolitan Opera House.... If the new art at its best is not dancing, neither is it wholly allied to the art of pantomime. It would seem, indeed, that Isadora is attempting to express something of the spirit of sculpture, perhaps what Vach.e.l.l Lindsay describes as "moving sculpture." Her medium, of necessity, is still rhythmic gesture, but its development seems almost dream-like. More than the dance this new art partakes of the fluid and unending quality of music. Like any other new art it is not to be understood at first and I confess in the beginning it said nothing to me but eventually I began to take pleasure in watching it.

Now Isadora's poetic and imaginative interpretation of the symphonic interlude from Cesar Franck's _Redemption_ is full of beauty and meaning to me and during the whole course of its performance the interpreter scarcely rises from her knees. The neck, the throat, the shoulders, the head and arms are her means of expression. I thought of Barbey d'Aurevilly's phrase, "_Elle avait l'air de monter vers Dieu les mains toutes pleines de bonnes oeuvres._"

Isadora's teaching has had its results but her influence has been wider in other directions. Fokine thanks her for the new Russian Ballet. She did indeed free the Russians from the conventions of the cla.s.sic ballet and but for her it is doubtful if we should have seen _Scheherazade_ and _Cleopatre_. _Daphnis et Chloe_, _Narcisse_, and _L'Apresmidi d'un Faune_ bear her direct stamp. This then, aside from her own appearances, has been her great work. Of her celebrated school of dancing I cannot speak with so much enthusiasm. The defect in her method of teaching is her insistence (consciously or unconsciously) on herself as a model. The seven remaining girls of her school dance delightfully. They are, in addition, young and beautiful, but they are miniature Isadoras. They add nothing to her style; they make the same gestures; they take the same steps; they have almost, if not quite, acquired a semblance of her spirit. They vibrate with intention; they have force; but constantly they suggest just what they are ...

imitations. When they dance alone they often make a very charming but scarcely overpowering effect. When they dance with Isadora they are but a moving row of shadow shapes of Isadora that come and go. Her own presence suffices to make the effect they all make together.... I have been told that when Isadora watches her girls dance she often weeps, for then and then only she can behold herself. One of the griefs of an actor or a dancer is that he can never see himself. This oversight of nature Isadora has to some extent overcome.

Those who like to see pretty dancing, pretty girls, pretty things in general will not find much pleasure in contemplating the art of Isadora. She is not pretty; her dancing is not pretty. She has been cast in n.o.bler mould and it is her pleasure to climb higher mountains.

Her gesture is t.i.tanic; her mood generally one of imperious grandeur.

She has grown larger with the years--and by this I mean something more than the physical meaning of the word, for she is indeed heroic in build. But this is the secret of her power and force. There is no suggestion of flabbiness about her and so she can impart to us the soul of the struggling moujik, the spirit of a nation, the figure on the prow of a Greek bark.... And when she interprets the _Ma.r.s.eillaise_ she seems indeed to feel the mighty moment.

_July 14, 1917._

IV

Margaret Anglin Produces _As You Like It_

Of all the comedies of Shakespeare _As You Like It_ is the one which has attracted to itself the most attention from actresses. No feminine star but what at one time or another has a desire to play Rosalind.

Bernard Shaw says, "Who ever failed or could fail as Rosalind?" and I am inclined to think him right, though opinions differ. It would seem, however, that Rosalind is to the dramatic stage what Mimi in _La Boheme_ is to the lyric, a role in which a maximum of effect can be gotten with a minimum of effort.

Opinions differ however. Stung to fury by Mrs. Kendal's playing of the part, George Moore says somewhere, "Mrs. Kendal nurses children all day and strives to play Rosalind at night. What infatuation, what ridiculous endeavour! To realize the beautiful woodland pa.s.sion and the idea of the transformation a woman must have sinned, for only through sin may we learn the charm of innocence. To play Rosalind a woman must have had more than one lover, and if she has been made to wait in the rain and has been beaten she will have done a great deal to qualify herself for the part." Still another critic considers the role a difficult one. He says: "With the exception of Lady Macbeth no woman in Shakespeare is so much in controversy as Rosalind. The character is thought to be almost unattainable. An ideal that is lofty but at the same time vague seems to possess the Shakespeare scholar, accompanied by the profound conviction that it never can be fulfilled.

Only a few actresses have obtained recognition as Rosalind, chief among them being Mrs. Pritchard, Peg Woffington, Mrs. Dancer, Dora Jordan, Louisa Nesbitt, Helen Faucit, Ellen Tree, Adelaide Neilson, Mrs. Scott-Siddons and Miss Mary Anderson."

Of those who have recently played Rosalind perhaps Mary Anderson, Ada Rehan, Henrietta Crosman and Julia Marlowe will remain longest in the memory, although Marie Wainwright, Mary Shaw, Mrs. Langtry and Julia Neilson are among a long list of those who have tried the part. Miss Rehan appeared in the role when Augustin Daly revived the comedy at Daly's Theatre, December 17, 1889. We are told that an effort was made in this production to emphasize the buoyant gaiety of the piece. The scenery displayed the woods embellished in a springtime green, and the acting did away as much as possible with any of the underlying melancholy which flows through the comedy.

William Winter frankly a.s.serts--perhaps not unwittingly giving a staggering blow to the art of acting in so doing--that the reason Rosalind is not more often embodied "in a competent and enthralling manner is that her enchanting quality is something that cannot be a.s.sumed--it must be possessed; it must exist in the fibre of the individual, and its expression will then be spontaneous. Art can accomplish much, but it cannot supply the inherent captivation that const.i.tutes the puissance of Rosalind. Miss Rehan possesses that quality, and the method of her art was the fluent method of natural grace."

Fie and a fig for Mr. Moore's theory about being beaten and standing in the rain, implies Mr. Winter!

To Mr. Winter I am also indebted for a description of Mary Anderson in _As You Like It_: "Miss Anderson, superbly handsome as Rosalind, indicated that beneath her pretty swagger, nimble satire and silver playfulness Rosalind is as earnest of Juliet--though different in temperament and mind--as fond as Viola and as constant as Imogen."

Miss Marlowe's Rosalind, somewhat along the same lines as Miss Anderson's, and Miss Crosman's, a hoydenish, tomboy sort of creature, first cousin to Mistress Nell and the young lady of _The Amazons_, should be familiar to theatregoers of the last two decades.

Last Monday evening Margaret Anglin exposed her version of the comedy.