d elocution, as if actors
had nothing to do but fence, dance, and spout. An actor has to simulate
everything, from "shouts off" to a crowned king in the centre of the
stage. As in all probability neither the unseen but angry shouters, nor
the king, knew anything whatever of the acquirements alluded to, why
should the actor bother about them? They do not help in the least. If he
is an actor he can act. If he is not he can't. In the old days when an
actor had to go before the curtain between the weary acts of an
interminable tragedy and engage in a broadsword combat or dance a
hornpipe, I can understand the necessity for his having to be a
swordsman and a dancer. But I do not see the use of those
accomplishments now. In these days a man need not, like Mr. Gilbert's
"Jester," always climb an oak to say "I'm up a tree." In these days we
prefer the actor who thinks to the actor who dances. The institution of
an Academy of Acting would do one thing, and one thing only. It would
deluge an already overcrowded profession with a flood of mediocre
automatons.

* * * * *

[Sidenote: Addison Bright says it depends upon the style of acting which
is required.]

Whether or no a Dramatic Academy be needed appears to me to depend on
the kind of acting required. Do you affect the French school? Is your
aching void filled by the exquisite elaboration, the delicacy, the
half-tones, the subdued light and grey shadow, in which the French
delight?--then, obviously, it were best to adopt the Conservatoire
system, which hitherto has ensured these things being done better in
France. "The proof of the pudding," and what better proof of the value
of a Dramatic Academy could be forthcoming than the brilliant work of
Coquelin, Febvre, Maubant, Delaunay, Got, Worms, Laroche, Blanche
Barretta, Emilie Broisat, Madeleine Brohan? Here is a group of clever
men and women. There is not a genius among them. The Bernhardts,
Croizettes, Jane Hadings, and Mounet-Sullys, I purposely omit, as
possibly unaffected by the argument. But of this band of "merely
talented," there is not one but has by some means or other--and, in the
first place, presumably, the method by which they were grounded in their
art--become an artist, matured, solid, unapproachable. If, therefore,
this be what you want, surely the Conservatoire system is the shortest
cut to it. It is likely, however, that you, being English, want nothing
of the kind. Kickshaws