Plays, Acting and Music: A Book Of Theory

Mimi Aguglia has studied Duse, for her tones, for some of her attitudes; her art is more nearly the art of Réjane. While both of these are great artists, she is an improviser, a...

Now the question is: which is really made ridiculous by this ridiculous episode of the prohibition of Maeterlinck's "Monna Vanna," England or Mr. Redford? Mr. Redford is a gentl...

Dumas fils has put his best work into the novel of "La Dame aux Camélias," which is a kind of slighter, more superficial, more sentimental, more modern, but less universal "Mano...

Such, then, is a novel of Tolstoi; such, more than almost any of his novels, is "Resurrection," the masterpiece of his old age, into which he has put an art but little less cons...

The French "revue," as one sees it at the Folies-Bergère, done somewhat roughly and sketchily, strikes one most of all by its curious want of consecution, its entire reliance on...

In the attempt to humanise music, that attempt which almost every executant makes, knowing that he will be judged by his success or failure in it, what is most fatally lost is t...

When the actual Liszt came, the interminable Sonata in B minor, in which the sugar and the fire are so strangely mixed, it was as if Paderewski were still playing his own music....

The Meiningen orchestra is famous for its wind, and when, at the first concert, I heard Beethoven's Rondino for wind instruments, it seemed to me that I was hearing brass for th...

The other day, when Mme. Jeanne Granier's company came over here to give us some lessons in acting, I watched a little scene in "La Veine," which was one of the telling scenes o...

When this book was first published it contained a large amount of material which is now taken out of it; additions have been made, besides many corrections and changes; and the...

Well, and she seems still to be the same Phèdre that she was eleven or twelve years ago, as she is the same "Dame aux Camélias." Is it reality, is it illusion? Illusion, perhaps...

So far I have spoken only of those first requirements, those elementary principles of acting, which we ought to be able to take for granted; only in England, we cannot. These on...

The difference between Yvette Guilbert and every one else on the music-hall stage is precisely the difference between Sarah Bernhardt and every one else on the stage of legitima...

And, in his treatment of scenery also, we have to observe the admirable dexterity of his compromises. The supernatural is accepted frankly with almost the childish popular belie...