I always lacked the moral courage to ask any member of my organization to resign, no matter what provocation I might have. In my entire experience I have discharged two actors—both actresses!

One of these was hardly more than a girl, most intelligent and rather pretty, who was sent to me highly recommended and said to possess marked histrionic abilities. She had appeared successfully in amateur performances of Shakespearean rÔles and taken first prize at one of the modern schools of acting.

I cast her for a very minor rÔle in one of my plays. In one scene where she had to criticize a picture of a celebrated artist in a speech of about fifteen lines (which required an intelligent rendering and a delivery which demanded at least elocutionary ability) she floundered about in a most incoherent and jumbling manner. And when she came to the particular speech for which I was sure she was qualified, the amateur Juliet fell, balcony and all!

I never saw such an exemplification of incapacity! It was a verification of what I have always felt regarding "schools of acting." There have been a few, a very few, graduates of the supposed academies of acting who have made successes on the legitimate stage. But it was brought about only by discarding the methods of these bunco professors, who dare to teach an art of which they know not.

The so-called professors of these schools as a rule have had their fundamental knowledge of the theatre only through books, and if an actor hangs out his sign you will find that his career has spelt failure or that he has become so pedantic that all theories of modern acting have been swept past his horizon.

I maintain that acting, if it can be taught at all, should be taught by an actor. Elocution and emphasis can be taught by a plumber or a gunman with the requisite authorities at hand. But even when those qualities are mastered they belong to the rostrum, not to the playhouse.

Acting is elementary and can be taught only by suggestion. Emotions can be transmitted only through psychological channels and facial expression. They cannot be taught. They are absorbed by those born with the talent for acting. Unless one is blessed with this talent all the professors of elocution or so-called "teachers of dramatic art" cannot make an actor or actress.

Granting that once in a while a budding genius has blossomed forth from one of these academies it is the exception that proves the rule. And even those who have graduated find it difficult to unlearn all that they have been taught. A school of acting, properly organized, would do no harm, but the student should be given his little speech to speak, then directed as to what not to do and the process of elimination continued until such times as he becomes at least an intelligent interpreter of what he is supposed to perform. For all of the arts acting most requires practical demonstration. And that can be taught only by professional tutors.

And how few are qualified to teach! One may have the power to portray without the ability to impart. That is why the stage manager is in such demand. So much more is demanded of the actor and actress than the mere delivery of lines. It would take many pages to illustrate what I mean, but as a rule in all these schools that dot the country very little attention is given to the technique of stagecraft. It is always lines, lines, lines, emphasis, intonation, etc. The system of Delsarte which devotes most time to the manner of making an entrance or an exit is of little value for fitting a student for the stage.

There are a few dramatic schools in Europe. In France they have the conservatories, the professors of which have either graduated from the ThÉÂtre FranÇaise or are men of letters, qualified to teach. They are subsidized by the government and no one is allowed a course of learning unless he passes a rigid examination. If the ambitious show no qualifications they are not admitted. In this country they come from Haberdashers' County, the salesroom or bankers' homes. It is only a question of money. If they have the necessary wherewithal it's an open sesame. I maintain that it is all wrong and the "professors" who are opening the doors of dramatic art to the incompetent at so much a quarter are obtaining money under false pretenses.

Chapter XLVIII