Show AMATEURS rmTrr: tits: " aix--- : 31 GUIDE TO THE STAGE r: quitting waves the hands” “Fear draws back the elbows parallel with the sides” This accounts for the conduct of men we know who always keep both elbows pallel with their sides It is “Fear” that does it “Denying” we are told pushes your open light hand from yon and turns yTour face the do it according to nature? Hear the oracle “Joy is expressed by clapping of the hands and extilting looks the eyes are opened wide and on some occasions raised to Heaven the countenance smiling not composedly but with features aggra- of your passion If a hint set your eyes staring and rolling at him Draw at the object he can't take ' down your eyes and wrinkle your forehead into clouds Should this not bring 'down the! house and cause them to appreciate the force of your genius stretch your nostrils wide— breathing hard the while — let your inoutk beldrawn on each side towards tlie ears showing your teeth (if you have any) in a gnashing posture Stamp your feet with your clenched fist shaken' Then generally agitate your whole body in a violent manner and tbe thing : vated” This is joy indeed Yes dear actor clap your hands and look at the drop curtain smile “ not composedly ” — by no means — “ but in an aggravated manner ” at your audience Continucthis until’-yoperceive your audience are smiling in an “aggravated manis dontv p! the ner ” at you when you may conIs this all that is said-b? sider the thing accomplished and and about rage anger pamphlet eertainlv not : but lest we should go on to ‘something else So natural a description is this of joy that raise those elements too naturally even your writer who is by" no on our own heads we shall change means an actor cannot himself help the subject at once to’ Grief and smiling “in an aggravated manner” Despair at the paper whilst he writes but Here we are told: “Grief sudden doubtless the actor delighted with and violent expresses itself by°beating tbe head and forehead tearing the hair what be lias pants to know how and catching the breath as if choking lie should render modesty and sub- also by screaming weeping stamping mission so “aggravating”' as if is lifting the eyes from1 time to time to Leaven and hurrying backwards and we hurry on “Modesty or Subforwards” mission” says the pamphlet “lev“ Despair "bonds’ ihe’eyebrows downels the eyes to the breast or feet of wards clouds the 'forehead rolls the tbe superior character In boasteyes and sometimes bites the lips and gnashes with the teeth the heart is suping or affected courage the eyes posed to be too much hardened to sutler stare the eyebrows are drawn down the tears to' flow yet the eyeballs will tbe face is red and bloated the be red and inflamed pthe head is hung moutli pouts and the voice is hodown upon the breast the arms are llow and thundering” bent at ’the elbows the fist clenched bard and the whole body strained and We never could We sec it all violently agitated” is on the there understand why is If such then grief and despair “ levelling ” of eyes much so stage no wonder This is such a s ad world at the breast and’ feet of other peBut no matter Tn our acting we Let the reader take a note ople must be true to nature therefore It' is all owing to “modesty and at griefv - times beat' your head submission” The pamphlet says ‘tear your hair' catch your' ’breath so And then as to those friends and' choke a little (if convenient) of ours whoso 'voices cn the stage scream pyeep and stamp lift your are always “ hollow and thunder- eyes from Heaven to earth and a point wo never could under- 'hurry backwards and forwards If Ing” till we came across this passtand your audience don’t by this time as we never met inasmuch sage understand that you arc overcome same phenomenon off the stage the with you they by grief and weep an our lives — it is clear that they ' are a set’ of hard hearted J ews were imitating oiiThe most perfect whose opinion is not worth studying “blasted and affected ' :prineiple' But if your grief don’t melt your we never knew it and courage’ audience your imitation of despair ' Here then isdight for both actor must Who can resist the picture and audience! What a key this pamyou will present with your eyes is to unlock much of the phebitten teeth phlet rolling lip gnashing nomenon’ of the stage! We shall eyeballs red and inflamed head on take a- copy of these precious in-- ’ your breast hand clenched and with us in future structions any whole body generally" agitayour ' theatre we mayr visit But ave are ted ? If the audience can’t see not through yet they are looking on a very had' li:t Wc have then to inform' all per- ’case of despair despair of them ' sons whom it may concern that ‘that’s all j y “ th$ passion of pride fetretclies the But now for variation sake let ns take a turn into comedy let us ' legs to a distance from one another Simand takes large and solemn strides” suppose Mr McKenzie or Mr “Itcmorse bends the knees” “Ha- -' mons should want to express their tred throws out the hands” “Ac shall How the they stage joy upon contrary way” Wc should think so as we always feel like turning ! our face “ the contrary way” very shortly after getting denied The coincidence at least is very striking and proves the science of the1 book before us - Is this all our actor lias to learn? certainly not He has now to master three kinds of modulation First “ high loud and quick ” second “ low loud and quick” and third’’ and ly “high loud and slow when he has accomplished these preliminary vocal gymnastics he will next proceed to the' practice of “pauses of reflection" and to pauses of' confusion filled up with hesitative pantings ” Having ‘made himself an animated bellows for the sake of his audience and learned to puff te high loud and quick” “ low loud and slow” not forgetting “ high loud and slow” and learned to fill in the whole with : v ‘ reflection pauses of conhesitative pantings immortality" as an actor will be ready for him and his life had better be written out at once and published in the Kew York Ledger Of course ever after this we shall claim a prominent place among Theatrical “corpses” at home and abroad But mind we ask no thanks A deputation from the association may wait upon us and request our acceptance of a Testimonial and fifty yearly tickets for the “ first circle” — --not for ourselves of course but for our poor relations —we say it may he done Wc cannot think of refusing anything to the association But mind it will be greatly pauses ! of fusion- and against our : -- will Quiz Every Sunlight hath its Shade Every sunlight hath its shade JO very heart its cloucl of sadness Tangled boughs that arch the glade Hide the sunny smile of gladnoas Were it not that shadows fall Hcavcu would he too bright for alU t-- ' r r i i ' ’ ' ' ' Every sunlight hath its shade That smile which oft with winnings art O’er the face deceiving play’d Hid beneath a brokciehcart — Sparkling' eves lull oft illume liut cannot chase the spirit gloom Every sunlight hath its shade blossoms need the pooling shower So when life with charms array’d blitters on through golden hours— That hearts be kept from withering too Clouds roll o’er the spirit bhie Looker On ' i |