QUIZ TIME

I have eight depictions of period actors, each showing one of the Ten Major Emotions actors trained to express. Can you identify them?



























1. The pose in question is that of the woman on the right. From Box and Cox.




2. Again, look at the woman's pose, from unidentified play and actors.


















3. Both these pictures of Dame Ellen Terry show the same emotion.



4. Edwin Booth as Iago bristles with a particular mood.



5. Edmund Kean, here as Othello; is he communicating his feeling clearly?



6. Julia Marlowe is overcome by her mood as Beatrice in Much Ado About Nothing.



7. Mary Anderson; the play is unknown, but her emotion should be obvious.




8. How do you respond to this attitude by Marie Wilkins in Two Orphans?

An earlier post of The Ten Major Emotions has a drawing and verbal description for each, included under the link "stage gestures."

WINDOWS OF THE SOUL

While stance and gesture were primary tools in portraying character, there was also facial make-up and expression. The positioning and movement of the eyes were especially important...one of Edmund Kean's strong points was his unusually short eyelids, which meant motions and expressions of his eyes were easily seen.

Actors brought attention to their eyes by making up with dark shadow (even the poorest could apply soot with a knitting needle) and by pointing phrases through the silent use of eye and brow motion. Here are some pictures of extremely effective non-verbal communication through the eyes. (Some of the pictures are viewed better in larger form by clicking on the image.)


















Edmund Kean himself, as Richard III.



Charles Fechter "showing the whites of his eyes", as it was called, as Hamlet, with his gravedigger friend similarly using his optics.



An early example -- Sarah Siddons as Lady Macbeth. A pause to take a stance and direct one's eyes off character or off stage created a frozen moment of emotion.




Madame Celeste freezes another moment. Note the typical positioning of the face away from the body to increase mood.



From the sublime to the ridiculous...unknown actors silently emote.


Edwin Booth in one of his more famous roles as Cardinal Richilieu. Notice the eyebrows' effect in exaggerating the eyes, reminiscent of Kean.



Another Hamlet, this time Beerbohm Tree. You can see that actors who can show white completely around the eye were better equipped for expressing strong emotion.


A carte de visite (sold in theatres and stationery stores) of light comedian E. A. Sothern in a sober mood.


Maude Adams, showing demure charm by the feminine stereotype of "looking through the eyelashes".

The Old Trouper - Archy and Mehitabel

The Old Trouper by Don Marquis is a masterpiece of characterization and embodies the spirit of the "Crushed Tragedian" down to the namedropping and melodramatic gesture.

Marquis (1878-1937) created the characters Archy and Mehitabel -- the latter a stray cat, the former a cockroach who typed by jumping on each key which is why there are no capitals or punctuation marks in the poems). Marquis supposedly found the typed pages on his desk the next day and published them.

THE OLD TROUPER

i ran onto mehitabel again
last evening
she is inhabiting
a decayed trunk
which lies in an alley
in greenwich village
in company with the
most villainous tom cat
i have ever seen
but there is nothing
wrong about the association
archy she told me
it is merely a plutonic
attachment
and the thing can be
believed for the tom
looks like one of pluto s demons
it is a theatre trunk
archy mehitabel told me
and tom is an old theatre cat
he has given his life
to the theatre
he claims that richard
mansfield once
kicked him out of the way
and then cried because
he had done it and
petted him
and at another time
he says in a case
of emergency
he played a bloodhound
in a production of
uncle tom s cabin
the stage is not what it
used to be tom says
he puts his front paw
on his breast and says
they don t have it any more
they don t have it here
the old troupers are gone
there s nobody can troupe
any more
they are all amateurs nowadays
they haven t got it
here
there are only
five or six of us oldtime
troupers left
this generation does not know
what stage presence is
personality is what they lack
personality
where would they get
the training my old friends
got in the stock companies
i knew mr booth very well
says tom
and a law should be passed
preventing anybody else
from ever playing
in any play he ever
played in
there was a trouper for you
i used to sit on his knee
and purr when i was
a kitten he used to tell me
how much he valued my opinion
finish is what they lack
finish
and they haven t got it
here
and again he laid his paw
on his breast
i remember mr daly very
well too
i was with mr daly s company
for several years
there was art for you
there was team work
there was direction
they knew the theatre
and they all had it
here
for two years mr daly
would not ring up the curtain
unless i was in the
prompter s box
they are amateurs nowadays
rank amateurs all of them
for two seasons i played
the dog in joseph
jefferson s rip van winkle
it is true i never came
on the stage
but he knew i was just off
and it helped him
i would like to see
one of your modern
theatre cats
act a dog so well
that it would convince
a trouper like jo jefferson
but they haven t got it
nowadays
they haven t got it
here
jo jefferson had it he had it
here
i come of a long line
of theatre cats
my grandfather was with forrest
he had it he was a real trouper
my grandfather said
he had a voice
that used to shake
the ferryboats
on the north river
once he lost his beard
and my grandfather
dropped from the
fly gallery and landed
under his chin
and played his beard
for the rest of the act
you don t see any theatre
cats that could do that
nowadays
they haven t got it they
haven t got it
here
once i played the owl
in modjeska s production
of macbeth
i sat above the castle gate
in the murder scene
and made my yellow
eyes shine through the dusk
like an owl s eyes
modjeska was a real
trouper she knew how to pick
her support i would like
to see any of these modern
theatre cats play the owl s eyes
to modjeska s lady macbeth
but they haven t got it nowadays
they haven t got it
here
mehitabel he says
both our professions
are being ruined
by amateurs

archy



Tom's Friends

Richard Mansfield
Anglo-American actor and producer, known for the beauty of his Shakespearean performances, his work in Gilbert & Sullivan, and his production of and starring role in Dr Jekyll and Mr Hyde. Resented by colleagues for his arrogance, short temper and duplicity.



Edwin Booth
Considered by critics and theatre historians the greatest actor of his time, according to some, of all times. Son of famed actor Junius Brutus Booth, he surpassed his father and inaugurated a more naturalistic and introspective acting style. He founded Booth's Theatre in Manhattan and became famous for his roles as Hamlet, Cardinal Richelieu and Iago.

Augustin Daly
Playwright and theatrical manager. His play Under the Gaslight featured a character tied to railroad tracks and saved in the nick of time by his sweetheart, starting a melodramatic trope we all now recognize. He ran a stock company, the "company of stars", and was famous for his attention to detail and paternalistic handling of his actors.


Joseph Jefferson
The most famous actor of the post-Civil War stage, he played the title role in Rip van Winkle for almost forty years. He also played the lead in Our American Cousin, the last play President Lincoln attended. Rip van Winkle's dog Wolf was a ghostly presence, never appearing on stage but frequently mentioned as a loyal and faithful friend.


Edwin Forrest
American actor of Shakespearean and popular roles, seen as a native challenger to British classical actors MacReady and Kean. He played Othello, Lear and MacBeth, but his Romantic heroes, such as Spartacus and Metamora, depended as much on his physical training and muscular presence as on classical artistry.






Helena Modjeska
Polish-born actress, known for her Shakespearean interpretations. Lady Macbeth was considered one of her finest roles, but audiences also knew her as Camille and as the star and producer of the first U.S. staging of Ibsen's A Doll's House.

A CRUSHED TRAGEDIAN

I had seven years’ apprenticeship at [drama], during which most of my labour was in the field of comedy...the while my soul was yearning for high tragedy. I did my best with all that I was cast for, however, and the unpleasant experience did me a world of good. Had I followed my own bent, I would have been, long ago, a “crushed tragedian.” ---Edwin Booth

The idea of a "crushed tragedian", i.e., one suffering under changes in dramatic taste away from his mastered delivery style, was common through the 19th century. What was considered "natural" and what stiff and old-fashioned changed over the years, though. Edwin Booth, who acted with a graceful and cerebral delivery which shattered the hold on the stage by muscularly flamboyant actors like Edwin Forrest and Edwin's father Junius Brutus Booth, was considered a stale stereotype himself by the time of his death in 1893. Forrest had changed the style popularized by Edmund Kean, who had overturned the theatrical grip held by David Garrick, who had prided himself on replacing stiff classical styles with "naturalism."

The crushed tragedian, whatever he replaced or was replaced by, represented the actor out of work because of his mouthing, overgesturing, and overacting. An Arthur Lloyd song "Junius Brown, the tragedian" (1850s) bemoaned:

Since Kemble none like me's been seen,
Yet nought but bad luck is my portion;
My friends say I'm better than Kean,
That my 'Richard' and 'Hamlet's' a caution.
They say my declaiming's a treat --
In the speech over Caesar by Antony;
I can do the soft parts low and sweet,
Likewise I can 'pile up the agony.'

In 1902, a vaudeville act of "A Crushed Tragedian" had a "representative of the 'old school'" intone:

Classic laurels once were placed upon the tragedian's brow,
But the language-killing funny man gets all the plaudits now.
Richard Third no longer rails 'gainst his "shadow in the sun";
His personator now is forced to do five acts in one...
For vaudeville is the thing that now applause and money fetches;
And if Shakespeare were alive to-day, he'd write twenty-minute sketches.

The author's note says the performer should be dressed in a "seedy" Prince Albert or frock coat, with trousers frayed at the bottom. He should stride about, placing his right hand in the breast of a tightly buttoned coat, except when he is gesturing "extravagantly."

Of course, extravagance is in the eye of the beholder. We consider film and television actors "natural", but if they walked among us in everyday situations...boarding a Metro, buying groceries, asking for directions...we would raise eyebrows at their punching of words, excessive reactions and self-involved carriage. Nor do we see such linguistically, cosmetically, dentally and sartorially managed characters in day-to-day life. We accept entertainment's differences from real life subconsciously, whereas Victorian audiences frequently considered and rated differences they saw.

WHAT THIS COUNTRY NEEDS IS A GOOD FIVE-CENT...ACTOR?

Cigars were a big part of 19th-century American life; cigar stores and divans (smoking salons) were in every town and city. The cigar label became an early American art form -- and given the dominance of theatre in America, the two naturally combined. The above two labels are from the website of Chip Brooks, the Cigar Label Junkie. He has a category on his site devoted only to actors, link in link list.