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Show HAWXET AND CAMILLE. Why Do They Attract Men and Women Wo-men PlnyersP AVhat the North pole is to the Intrepid In-trepid explorer seeking for fame, Cn-mille Cn-mille is to the actress. It Is the undiscovered undis-covered country, always alluring, always al-ways fascinating. No other rolc unless un-less It be possibly that of Juliet holds such potent attractiveness for the ambitious am-bitious woman player. Every embryonic mime wants to play Hamlet. Even after he has ceased to be an amateur and has acquired some measure of professional experl-j experl-j once, the actor of ambition Is likely to look forward to a day when circumstances circum-stances will be such as to enable him to appear In the role of the melancholy Dane. Nor Is the desire confined to those -who by reason of their talents have attained to success In tragedy. Comedlnns who have moved thousands to mirth by their humorous antics, if their efforts are to be believed, weep salt tears In the privacy of their own apartments because a cruel fate has denied them the opportunity to shine In the chief role of Shnkespenre's Immortal Im-mortal tragedy. But for the women of the stage the lady of the Cnmellns is the perennial attraction. True, the role divides honors hon-ors in a measure with that of Juliet, but there Is this distinction. It Is the youthful actress who, as a rule, most seeks to pine for Romeo. And novices sigh to enact IL Not that youthful actresses do not want to play Cnmllle, too. But few professionals nre willing to essay this part until their experience experi-ence Is more or less matured. There are In the acting drama plenty of other parts which might tax their abilities to as great an extent. The explanation of why all actresses want to play Cnmllle, as of why all actors want to piny Hamlet, lies perhaps in the fact that all great players of the pnst have attempted these roles. Mention Men-tion the names of the famous Camilles of the stage and you mention tlie names of the foremost actresses of all times. The role has come to be considered con-sidered the ultimate test of the actress' right to hor title. Players are essentially beings of an imitative turn of mind. What others have done they want to do. An actress might appear In a dozen modern roles were they available presenting all the complexities of Camille, but she still would feel unsatisfied did she not have at least one chance to challenge comparison com-parison as the lachrymose heroine of the Dumas drama. When newcomers arise to contest the laurels of those who have gone, it Is always Interesting to Inquire Into the mental state which inspires their attempt. at-tempt. Two new Camilles have been seen In Now York. To both actresses these questions were put: "Why does every actress want to play Camlllc?" h "What phase of Camille's character appeals especially to the actress?" "Since first playing the part, havo your Ideas of Its portrayal changed materially?" "What are the chief difficulties encountered en-countered In such a role?" "When you play a part of this sort, do you for the time being lose your own identity, and become the character?" char-acter?" Virginia Harned answered: "Because, as in other professions, she wishes to excel in the most ditficult." "Possibly it appeals differently to each individual. Camille's self-sacrl-flco and her love for Armand of course Joined, appeal to every human mind." "Yes. in minor details. For instance, T do not think it necessry to cough violently vio-lently In the last act to show that Camille Ca-mille Is mortally ill. To my mind It should be shown In other ways." "Physical strength first of all, as It is a very long and exacting part; even if all the other equipments necessary which is rare In one person the en-elurance en-elurance is absolutely necessary to make a telling Camille." "At times, yes that Is there are moments mo-ments I feel as if I were really Camille." Ca-mille." These were Miss Anglln's views:. "I am not aware that every actress wishes lo play Camille. Personally, I had no wish to do so. and I simply studied It at the dictation of my man-njrer." man-njrer." "Tho regeneration of the woman through tho influence of love." "Not materially-changed, only a development de-velopment in. expression consequent upon continued practice." "The physical strain due to such a long and exacting emotional part." "Not for a moment." |