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Show I-hology Explmns the Force , Jv ; " Suggestion Which Made HBQ ' V:' JSSmM- "Maries Warner Really Kill K 'f ' ' Ififi GAIN and again we find that a pecu-JA pecu-JA liar, often depraved, type of char-ff char-ff actcr, assumed by an actor on the .it Passes into that actor's cvery-day Sand becomes Ills cvery-day personality. (Ma that happens the actor or actress Ames la real life tho character he or je Us been portraying, and acts exactly u ikt character docs In tho play. ft ids RabenBtein, the French actress who foed tho title role in D'Annunzio's Ertyrdom of St. SehosUan,' had la rive up the play because of the A Mutant desire for self-immolation 0 U kept coming over her. She M& mted to throw herself under m& fttna or cast herself into the Seine. .Cbarles Warner, the English $W&t ft-lcr, after playing a drunkard in f Drink," for forty years, developed v m the symptoms of delirium tre-iwsand tre-iwsand eventually committed sul-Idle sul-Idle la New York because those , C'ljaptoms oppressed him so terribly, M filliouga be was not a hard drinker. Jj&i least the assumed emotions have over-whelmed over-whelmed him. How does psychology explain these very remarkable and alarming facts? for obviously ob-viously psychological science is concerned with these facts. It explains them . by telling us that a bodily change occurs In us before uu emotion. We do not cry because we feel sorry, we feel sorry because we cry. We do not strike because we are angry, but we are angry because we strike. Wa 'rZ0& . mm SSSiP-i 7 Donnelly To-day, Months After Her Appearancn M "Madame X," Still f010 on Her Face the "Muscular u Emotions of the Part. Dean, who played the wife In Khniand PaiJ For" and fought with Bni i lU(1 every evening, had to give up Ji-UUjSo. It was becoming part of IBisrafRobEoa tDG noted actor, died stuart Robson, but as "Bertie, the jEL , ,"Tl10 Henrietta," his most suc-KrP.i suc-KrP.i l8, Durlng the last two days HrM Personality of Hobson absolutely Bijifl i??aro' after Playing the part of EJ0 Bypsy' ln "The Road to Yes-HSolM?yp Yes-HSolM?yp that alic developed au un Kr i the tendcncy t0 Dccomo a wau' HE? San8fleW, In his last moments, 7 Mmself a composite of Baron Hfcfln,rL The Pnrlelau Romance' Mr. Kjl'ir Cyrano de Bergorac. Uiftl0,, wlj0 enacted for so many Be L 098 charcter of RiP Van itijjj! ec4toe so irresponsible pecunlar- Htyd W?e ?pIte hi3 Brent earnings, he fttW- on rulu4 " son had not 7 rgs of his affairs. JBot oi iian' whose greatest role was fotin ! ' becatno so possessed with 'W i p(i,'amcnt of tho rlQ that Vfa tt ,1,&sanely and causelessly sus-lmk sus-lmk fftr , owu and tbey were itn i f Irie-lalTO Irie-lalTO Marshall, a K'roV 7 , Clyde Bltch'B play, "The thP ionE time, found himself nc-"-"sm J"llI,ar raauuers of a "dope B'Hroteptfn rced to Slve up thlB role t'ltchlng8na0yIrnoau 1liabltB"the ner Hae Si0. t00k Part in the harl-BVCoarf' harl-BVCoarf' PnJn5 act of "The Darling lKUar inS? HQi su'sWe. Huudrcds SBi11 ." C,K mlsht b0 elven In HB'e 0Wt, ,fl clwncter lias become V " xwo 'fiDtdny cbaracler, or $ PKOTO " The American Actress, Dorothy Donnelly, Don-nelly, as "Madame X" do not tremble because wo are afraid, but we are afraid because we tremble. First, the actor having mimicked the physical expression that causes the emotion, emo-tion, he really experiences the emotion-Then, emotion-Then, according to tho scientific law of habit,' physical movements frequently repealed, re-pealed, become ingrained in the human organism. or-ganism. Consequently, if tho actor gets in the habit of repeating certain physical ex-presslans ex-presslans vhlcU ure emotions, they tend to become fixed. In order to get to the bottom of thin mystery, wo must ask ourselves: To what extent does the actor "realize" the character char-acter he represents? and by what -aechanisra does he arouse within hlmseu the feelings'aud emotionBof his part? To what extent Is his real character permanently perma-nently Influenced by the fictitious feelings of the stage? Does tho man who, for example, ex-ample, plays tho part of a thief or a "dope fiend" actually experience the feelings feel-ings of degradation belonging to the character, char-acter, and docs the long continued per-formar per-formar of such a part tend to develop permanent traits, or it is possible for him to rid himself of the acquired habits of mind as easily as he lays aside his wig or removes his makeup at the "close of tho performance? As to "realizing" tic character, the traditional tra-ditional view, as old as dramatic avt itself, 1b that the actor will fail to achieve tho highest effects unless ho actually allows the part to possess him so completely that his body responds In spontaneous movements. move-ments. It is true, Indeed, that a few great players, like Coquclin, reject this view, and Insist on the predominance of the purely Intellectual elements. William Archer, tho well-known English critic, ln his "Masks and Faces," has collected evidence on this point and finds that most successful actors and actresses declare they must feel the emotion they express. Saivlni, for example, Bays: "If you do not weep in the agony of grief, if you dc- not blush with sbamo, It you do not glow with love, if you do not tremble with terror, if your eyes do not become bloodshot with rage, if, In short, you yourself do not intimately experience whatever befits tho diverse characters and passions yon represent, you can never thoroughly transfuse Into tho hearts of your nudienco the Bentlment $t the sit-uaiion,." "It is this phantom self which, under the power of suggestion, he must imitate. As I it raises the unreal pistol, he raises the Pistol and Shoots." Jj yf To the same effect Miss Emily Bateman, ag&y ne of the greatest emotional actresses, WMi v says: "If real tears do not come to my p eyes I do not truly feel what I am acting. ... , nor can I Impress my audience to the same pf - extent when I feign emotion as when I m - really feel It I have acted the part of m Leah for twenty-four years, and the tears W al way come to my eyes when tho 'little M - - ' child says "My name Is Leah " M The foregoing Instances establish two H ' facts with positive certainty: (1) To the H successful actors themselves, the feelings, i however Induced, are for the time being I real; and (2), there Is an exceedingly i close relation between the mental state and ... the physical expression, no matter whether tho physical expressian be regarded as the cause or as the effect of the mental. According to the view of modern psychology, psy-chology, It Is only half the truth to say lv that there is an Intimate relation between the mental state and the expression of feel-cesses. feel-cesses. Emotions are regarded merely as the accompaniments of bodily sensations, lpj. and can not exist without them. Neither fp) can an emotion which has- once been ex- perlenced be recalled to consciousness ex- cept by recalling the sensations with which mMM It was originally associated. fm Materialistic as tho view expressed- above may seem, it has the sanctlan of no PPPI leS nn authorIfcy than Professor James, im. wuo. in fact, goes one step further and as-Mk as-Mk serts that these kluaesthetlc aud visceral sensations not only condition the emotions, Wmm. bnt actually constitute the emotions them-PJftlpilaM them-PJftlpilaM selves. He says: Spp "Our natural way or thinking about the 'W&S emotions is that the mental perception of JW some fact excites the mental affection W&&ffiWxfy called the emotion, aud that this latter fmW state nilnd gives rise to the bodily ex-Wm& ex-Wm& presslon. My theory, on tho contrary. Is that the bodily changes follow directly the perception of the exciting fact, and that our feeling of tho same, changes as they Fflbli'n IMny "The City." Mr, Mnrijbiill. Altfaoasli ow IMnylna n Pliinn Hole to "Tlir Tniltrr. JUhh Hreu Uptle to Shnkc Off the Mtm nerlMRia of HI Muit Iranbrinnt Part. . occur is the emotion. wSm "Common sense says that we lo&e onr mm fortune, are sorry and weep; we meet a H1B bear, are frightened and run; we are ln- fR suited by a rival, are angry and strike, rag The hypothesis here to be defended says that this order of sequnce is incorrect, that the bodily manifestations must first E be interposed between (the perception and i the emotion), and that the more rational statement Is that we' feel sorry because ire cry, angry because we str ke, afraid 1ms cause we tremble. Professor James holds that this statement state-ment is true not only of the coarser emotions emo-tions whose expression Is obviously largely physical, but of the so-called higher emotions emo-tions as well, as the moral, Intellectual ami aesthetic feelings. "A glow, a pang in tha breast, a shudder, a fulness of the breathing, breath-ing, a flutter of the heart, a shiver down the back, a moistening of the eyes, a stirring stir-ring ln the hypogastrium, and a thousand uuuamable symptoms besides, may be felt) - - V'1. ' 1 ' P the moment the beauty excites us. In all cases of intellectual or moral rapture we find that, unless there be coupled a bodily reverberation of some kind with the mere thought of the object and cognition of its quality; unless we actually laugh at the neatness of demonstration or witticism; unless we 'thrill at the case of justice or tingle at the act of mngnanlralty; our state of mind can hardly be culled emotional at all." Feeling and emotion being thus reduced to a purely physiological basis, it Is altogether alto-gether possible for them to become Ingrained In-grained by repetition, under the law of habit, just as certainly as skill ln playing the piano may bo acquired by practise, or tho fire horse may be trained to respond to au alrm. The stealthy movements of the thief In tho play, the muscular twltch-Ings twltch-Ings of the alcoholic or the cocaine fiend, the tears of the woman In despair, are not merely the expression of or resultants from the given state of mind; they actually help to constitute tho state of mind. If by practise and frequent repetition the action becomes ingrained and associated with a given mental state, then whenever the physiological phy-siological conditions are reproduced, the appropriate mental state tends to recur. In the light of this theory, Tully Mar-Fhall's Mar-Fhall's acquisition of the manners of a "dope fiend" and the other casos are easily understood. The Intensity and permanence of the efftcts will, of course, depend upon . a number of variable uud Independent fas- i)pf state and the physical expression. As lw ' 8nD g? ma, the great French tragedian, puts it, IiEh IPIli k must have "received from nature a ilal : peculiar organization for sensibility, that lull j of the ySa&agll I St Sebastien, tors. The Interest of the actor In tho part, the adaptability and stability of his nervous ner-vous system, his power of concentration, the length of time devoted continuously to the (portrayal of one particular character, the counteracting tendencies of his occupa-tlon occupa-tlon when off the stage all these factors will have their Influence in rendering the after-effects more or less permanent Tho psychological processes Involved aro precisely the same as are Involved in every process of learning or training. The most efficient training, whether physical, intellectual intel-lectual or moral, is that which tends to establish a direct connection between the given situation and the reaction or response. re-sponse. That is to say, training is always al-ways most efficient when It is put In terms of action. Tho skilled mechanic is trained, not by reading in a book how to do a thing, but by having the tool put Into his hand and being required to use It Moral sentiments senti-ments are best cultivated, not by preaching, preach-ing, but by inducing the individual to en-" gage In some act3 which will reBUlt In good to his fellow men. The more frequent the repetition, the stronger grows the habit The same law must hold good in tho emotional emo-tional life. There are, in fact, certain reasons -why members of the theatrical profession are especially susceptible to the effect of this law. In the first place, the genius of tho truly great actor is nothing more nor less than his superior ability to establish tbja uecesftary, connection between the meutaJ peculiar organization for sensibility, tnaz f common property of our being; and as all It B our emotions aro intimately connected with If m our nerves, the nervous system ln tha ju actor must be so mobile and plastic as to H I bo moved by the inspirations of the poet 2 W as easily as the Aeolian harp sounds with frfu the least breath of air that touches If ifgH The existence of this heightened susceptl- 9(W billty Is Indicated in the case of many flraS actors and actresses who assert that tho Still mere study of the parts results in evea Slni stronger emotions than they give expres- gfff slon to when on the stage. Ifffi Further, players ln most cases aro likely iffffl to attempt ouly those parts which are mn more or less congenial to their natures. mmt The interest may bo ln the nature of a Sufi fascination rather than of actual sympathy OSS with the character. The man who plays KB the thief need not have tho uncontrolled jig instlucts of the latter, yet he cauld hardly Hp hope to carry the part with much succes Bf if those Instincts were wholly lacking ln ; Keg his mental mnkcup. ; ifR There Is also the additional fact that the 1 j IFKl study of the part is carried on at high f HuEi pressure and under the stimulus of Inter- aKff est An emotional experience which, for Sft the average Individual, would represent ufigX the sum total of- a lifetime may, for tho Wat actor, bo concentrated within a period of a uiftc few months. It Is real experience) none B Bffgl the less, from tho psychological point of I Hli view, and as such Is bouud to havo lu I Mft permanent influence upon the character. jj I1m It may be said, therefore, that the salva- I HSg tlon of the actor lies either In his modloc- HBIKf rlty or his versatility. The less his genlua Htm for acting, the less he will feel, and con- Hjnf scquenily the less will be the Influence of Bfflfl1 the part upon his character If be plays nKE the part with feeling, the habit of mind $fiil will grow with each repetition. If Nafi Tff? Goodwin, for example, wero not 3uch a r J ' consummate love maker on the stage, Ifi . .. ' - is hardly probable that he would ba-flp bad ' enough wives to make a book I |