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Players and plays of the last quarter century; an historical summary of causes and a critical review of conditions as existing in the American theatre at the close of the nineteenth century (1903) (14581318419)
Summary
Identifier: playersplaysofla02strauoft (find matches)
Title: Players and plays of the last quarter century; an historical summary of causes and a critical review of conditions as existing in the American theatre at the close of the nineteenth century
Year: 1903 (1900s)
Authors: Strang, Lewis Clinton, 1869-1935
Subjects: Theater -- History Theater -- United States Acting and actors
Publisher: Boston, L.C. Page
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN
Text Appearing Before Image:
Miss Morris neverentirely lost the awkwardness and crudenessthat her lack of social training had sounfortunately settled upon her; her gesturesnever ceased to be narrow in range and monot-onous in effect; her voice never lost its nasaltwang nor its blurring r; she never rid her-self of her uncultivated enunciation, her roughintonation, and her positively incorrect pro-nunciation. What, then, was Clara Morris ? Was sheactress or phenomenon, artist or exotic ? Thatshe had power cannot be disputed. That sheafterward lost this power is also a fact. Al-though Miss Morris has proved by her writingsthat she possesses intelligence of high orderand versatile quality, it is likely that actingwith her was mainly instinctive. Of course,she had a method and an art of her own, andthey amply sufficed for her purposes while thefire of her genius was blazing with its earlyfierceness and spontaneity. Neither hermethod nor her art, however, was complete orfully under her control — else the lamentable
Text Appearing After Image:
CLARA MORRIS The Emotional Drama 235 collapse of both in later years would have beenavoided. Art is a permanent possession,wholly apart from personality, as is shown bythat wonder-worker, Sarah Bernhardt, also anemotional actress of remarkable temperamentalstrength, whose power, however, has increasedinstead of weakening. Never in all her longcareer did Sarah Bernhardt act MargueriteGautier in Camille with the force, the con-viction, and the understanding that she dis-played during her visit to the United Statesin 1901. The clearest insight into the complexities ofClara Morriss strange emotional and technicalequipment has been furnished by her own sum-ming up of her thoughts regarding herselfwhile she was playing, by her account ofthe stimulus she used in order to reach thenecessary point of excited emotionalism, andby her description of the quality of hysteriashe was accustomed to provoke for the pur-pose of affecting her audiences. Miss Morriswrote: The same words, of course, become
Clara Morris was an American stage actress who was active during the late 19th and early 20th centuries. Productions: "East Lynne," "Camille," and "The Two Orphans." She also wrote several plays and essays about her experiences as an actress. Despite her success, Clara Morris struggled with alcoholism and financial difficulties throughout her life.