the actor.

* * * * *

[Sidenote: Mr. Murray Carson is of opinion that the actor's own
discretion should be his tutor.]

I do not think a Dramatic College is either practicable or necessary.
You could not expect the public, or the critics, to attend a series of
performances given by novices; and as constant appearances in public
must outweigh all other forms of teaching, it would be more profitable
to the beginner to join a provincial _repertoire_ company, and thus come
into nightly encounter with his final judges, the public, thereby
learning the most essential quality of the art--how to make his
personality and his particular form or method the master of their
feelings. Now, as the personality of every actor differs, so, I contend,
must his method vary, not only in what is termed the "reading" of a
part, but also in the technique of his execution. If to become a mere
walking, talking machine, be the object of a beginner, by all means let
him be instructed in calisthenics and elocution, and the art of
first-night speech-making; but to call such a combination of classes a
School of Dramatic Art is degrading; it robs the calling of its highest
attribute--imagination. Innate ability must undoubtedly be developed,
"which nobody can deny," but such an institution as is suggested would
develop everything in the same form; and as there is no accepted
standard to aim at, the result would be, so many impressions of the
mind of the teacher, who might possibly be wrong. It is impossible to
talk about learning to "walk the stage," dancing, fencing, etc., etc.,
as being of sufficient importance to demand a national institution. I
have known very fine actors who neither walked well nor spoke
distinctly. A school _supported by the profession_, at which it would be
possible for an actor to take lessons in any of these _accessories_ from
accredited masters, for a small fee, would be invaluable, but it could
not by any possibility lay claim to the title "School of Dramatic Art."
After a few general hints, which are not in the nature of an academical
lecture, Shakespeare himself says, in that memorable address to the
players, "But let your own discretion be your tutor." You cannot learn
discretion, it must be the result of experience--an experience made up
of hard work, many disappointments, self-analysis, and, above all, much
patience.

* * * * *

[Sidenote: Cecil Rayl