19th Century Actor Autobiographies by George Iles

By George Iles

I First visual appeal. A father's suggestion. How Salvini studied his artwork. Faults in appearing. the will to excel in every little thing. A version for Othello. First stopover at to the U.S.. In Cuba. visual appeal in London. Impressions of Irving's Hamlet. The decline of tragedy. Tragedy in languages. American serious style. Impressions of Edwin sales space. ADELAIDE RISTORI First appearances. Salvini and Rossi. appears to be like as girl Macbeth. As supervisor. First stopover at to the United States. starts to play in English. JOSEPH JEFFERSON [William wintry weather, the dramatic critic of the recent York Tribune, in 1894 wrote the "Life and paintings of Joseph Jefferson," released by means of the Macmillan corporation, London and ny. He supplies an account of Jefferson's lineage, after which says: "In Joseph Jefferson, fourth of the road, well-known as Rip Van Winkle, and destined to be lengthy remembered through that identify in dramatic historical past, there's an noticeable union of the salient features of his ancestors. the country luxuriance, manly energy, careless and adventu

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There are causes from without that will always keep alive a certain measure of hostility towards the player. As long as the public, in Hazlitt's words, feel more respect for John Kemble in a plain coat than the Lord Chancellor on the Woolsack, so long will this public regard for the actor provoke the resentment of those whose achievements in art appeal less immediately, less strikingly, to their audience. But if they would only pause to consider, surely they might lay to their souls the unction that the immediate reward of the actor in his lifetime is merely nature's compensation to him for the comparative oblivion of his achievements when he has ceased to be.

When with a wild bound, as if every nerve and muscle had been rent by an electric shock, he was upon his feet; and I was answered even before that suffocating cry of terror--'The bells! '--and under cover of the applause that followed I said: 'Haunted! ' And Mr. " Mr. " he said, with real cordiality, and I was delighted to have pleased him, and also to see the end of my troubles, and once more took up the sun-shade. " "I don't know," I lightly answered. " came the sharp return. "Why, you must have heard that Mr.

You may learn where a particular personage used to stand on the stage, or down which trap the ghost of Hamlet's father vanished; but the soul of interpretation is lost, and it is this soul which the actor has to re-create for himself. It is not mere attitude or tone that has to be studied; you must be moved by the impulse of being; you must impersonate and not recite. FEELING AS A REALITY OR A SEMBLANCE It is necessary to warn you against the theory expounded with brilliant ingenuity by Diderot that the actor never feels.

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