Jasper County Democrat, Volume 3, Number 15, Rensselaer, Jasper County, 21 July 1900 — ACTORS AS ORATORS. [ARTICLE]

ACTORS AS ORATORS.

Stage Stars Should Know How to Turn a Pretty Little Speech. “An actor who is not also an orator is at a great disadvantage in these days of curtain speeches,” said a visiting theatrical manager. “Just what constitute? histrionic art is a ruling question, but it doesn’t necessarily include a talent for oratory. In fact, I’m inclined to believe that acting really has a tendency to unlit a man for public speaking, because he learns to rely exclusively upon words that are put into his mouth and confines himself to. giving expression and vitality to thoughts that ar£ not his own. The consequence is that he is more than apt to go to pieces when he steps before the curtain, faces an expectant and critical audience.and undertakes to say something graceful and witty/out of his head.’ And no matter how finished his art may be, he is certain to drop grievously in public estimation if these few words of his indicate poverty of ihbuglit or diet-ion. Bis disappointed listeners will set him down contemptuously as a mero-parret mummer? The idol will he shattered. - “The old-time 'nctor was nearly always a capable speaker,” continued the manager, “but that was because he was a student as well as a player. He‘supped with Plato and dined with Plutarch, 1 and. spoke well because he read well. . Garrick was a finished speaker. When called upon lie always had something striking to say, and-Garrick was a man of retim'd and scholarly tastes. F.dnnuul Kean was also a ready speaker. It happened -often, in his starring career.that'deliberate attempts were made-to interrupt- bis performances, and on such occasions he invariably put the enemy to rout by wore! of mouth. Charles Matthews and the ill-starred George Frederick Cook were graceful and elegant speakers, and were never at a loss to address their audiences in response to a curtain call. But these men, as I said before, were students. Thev occasionally imliilged in the luxury of cerebration. The trouble with the majority of* our modern actors is that they never read anything except their pres? notices, and most of the time their thinking machines are at an absolute standstill. I remcinbcVohce talking to n young man who was about to .-tart out on his first starring tour. It seemed probable that he would be called upon to make a few curtain speeches, and I asked whether he had ever given the matter any thought. ‘Don't worry, me boy,’ he said, grandly, Til give those speeches thought when 1 come to them.’ 1 saiil nothing, but was strongly reminded >.f the chap who was asked whether 1 e Could play the violin. 'I dunno,’ said he pi'll try? “But ib*:;'t understand me a--inti-mating that there are-no modern neii ors who can make good curtain speeches. There are really quite a number, and their rnar.nt r:-m~ are very interesting! Dear, kindly old Sol Smith Russell, ft rexample, likes to tell each of his audiences cv-nfiden- ' tially that that particular town was ■ his place of birth, and if he had his way about it it is there he would like !to spend hi- declining years. When I Mr. Russell passes .away more cities i will claim him than claimed Homer, j When William 11. Crane is called bc- | fore the curtain lie invariable begins by saying: ‘ln behalf of—ahem—my j company and myself 1 l»eg—alum—- ! to thank the audience for its truly ! warm and welcome greeting.’ That is | merely a lubricant to ge t him started, j Then he says things. Henry Irving i has a curtain call trick that is very j effective. He shambles out with that queer loose-jointed walk of his and | has the appealing and embarrassed I air of a man who is taken totally off his guard, and who throws himself upon the mercy of his hearers. If you have never seen him do the same thing before, you feel sorry for him and.hope he will simply bow and retire, and not try to do any talking. ‘Ladies—and—gentlemen,’ he be- | gift.y hesi tatingly, and thc-n stops. It j seems certain that he will break down, i but just as your nerves are all aquiver | with sympathy and apprehension he I takes up the thread. ‘ln the name of—er—Mbs Terry and—er—the j company and my—tr —-myself, I am ; prpud to—.’ Again he stops, and again your heart goes out to him, but somehow or other lie always manages to think of the right word in the nick of time, and when the, agony is all over you realize, that you have been listening to one of the most polished and charming little addresses you ever heard in your life. II is apparent diffide nee is simply a genial bluff. In effect it is like the juggler who pretends to drop a plate, claws it fran* tically all over the stage and then •fttches it just before it strikes th» /loo?.—N. 0. Times-Democrat. «