(1) THE MONTHLY REVIEW For JULY, 1755. ART. I. Reflections upon Theatrical Expression in Tragedy. 8vo. Is. Johnston. T HIS writer shews a more extensive knowledge of his fubject, and a more refined taste for theatrical representations, than are usually to be found among the multitude of those who frequent the playhouses: were these truer judges, and better critics, than they commonly prove themfelves to be, it would be happy for the few good actors in particular, and add to the reputation of the stage in general. If crouded theatres, and violent applaufes were proofs of the town's difcernment, we might be misled to suppose the present age could boast a taste superior to all the past; but were any one to point out the many absurdities, both in the pieces and performances that have been most extravagantly cried up, when they ought to have been exploded, it would probably appear, that acting, like the sister-arts on which it greatly depends, is much more frequently talked of than understood; and has many more pretended admirers than real judges. No wonder, therefore, if, among the many, the most glaring faults often pass for the greatcit beauties: to be farther explicit on this head, might prove an invidious task, for which, at present, we have neither leisure nor inclination.-So, Sleep, fleep in peace, ye monsters of the stage.' Our ingenious Reflector observes, that in all countries, 'the profeffion of an actor is deemed low and contemptible; but VOL. XIII. B he he also candidly remarks, that it is going too far, to throw an odium on a profeffion, for the misconduct of a few profeffors. But, indeed, (if we may be indulged in a reflection of our own) while the managers of any theatre indiscriminately employ men without either breeding or manners, merely because one inay have a good pair of lungs, with a full loud voice, that can rattle the ears of an audience; or another, for that le's regarded at the tipling-houses as a drol, comical dog, add good mimic; and withal, perhaps, he sings a bloody good song, or tells a loose tale archly:-while such are permitted, either through particular recommendation, or the manager's caprice, to take the lead in every play, and to start forth, at once, in capital parts; without natural feelings, or, if not totally deftitute thereof, without judgment to guide, or experience to improve them. Under such discouragements, how can we expect that gentlemen of birth and character will venture (however sweet the profits may be) into the profession of a player? A profession so stigmatized by the world, from its being fo frequently taken up by persons of the lower claffes of life, totally uneducated and unbted! - Were a reformation in this respect to obtain, the theatrical station might become no dishonourable one, nor beneath any gentleman whose circuntitances might render it convenient to him: since there is none that calls for more talents, both natural and acquired, than are requifite to form the accomplished actor. As this performance, tho' but a twelve-penny pamphlet, is a curious one, and the subject much more generally talked of than understood, we are inclined to extend the present article tomewhat beyond the limits we usually confine ourselves to, when pieces of no greater bulk come under our confideration. It is divided into feventeen sections, befides some introductory observations, and an appendix. In the first section, theatrical expreffion in tragedy is defined in general. In sect. 2. the author treats of the accomplishments, perforal and acquired, which are requifite in a master of theatrical expreffion in tragedy. In the 3d, 4th, 5th, and 6th, he confiders the actor's figure, voice, ear, memory. The management of the feet and fegs is the fubject of the 7th, as that of the hands and arms is of the 8th. The 9th, 10th, and 11th, treat of the manageinent of the head, face, and eyes. In the 12th, we have the author's reflections on that capital grace to theatrical expreffion, SILENCE by artificial pauses. Silence, when attending to the parts of other actors, is confidered in the 13th; and the 14th and 15th are employed upon taste in drets, and in fcenery. In the 16 h, he speaks of variety in acting at different times the the fame part; and in the 17th, and last, of behaviour under the cenfure or applause of the audience. The appendix contains an address to the managers and the town, on the influence each has upon theatrical expression; the former by their difposal of the parts, the dresses, the scenery, &c. the latter, by their behaviour during the representations: under which laft head, he is feverely, but justly, fatirical. In the first section, our reflector says, Theatrical expreffion is of extensive import. It does not imply elocution only, but comprises every attitude of every member of the human fabrick, as they are naturally put in motion by the • several workings of the mind *. • The mind,' adds he, has more ways to express itself by than speech; and, under some impreffions, most emphatically indicates itself by absolute filence. She commands the feet, the hands, the head, the face, the eyes, to communicate * her emotions; and that by attitudes and movements as various as those emotions, and particularly adapted to express • each of them.' In his general definition of theatrical expression he says it implies An exhibition upon the stage, in perfonated charac• ters, an exact and accurate imitation of nature in real ones; * and when confined to tragedy, the imitation of fuch real * characters as can be perfonated within the rules of that part * of the drama; including a strict propriety in the adventitious • assistances in the dress and scenery.' Our author rightly supposes, that the delicacy of theatrical expreffion can never be expected from an actor who does not feel his part. Here we alfo beg room for another remark, To feel a paffion only, is not all; the performer must feel * This deserves the attention of our present players, fince tod many of them feem to think, if we may judge from their performances, that expreffion confitts in making a face, and making a noise: fome attend to the first alone, fome to the last entirely, while others, again, think every thing is to be done by an attitude: which they take care to torture fufficiently. These performers are frequently neglectful of their deportment through a whole scene, till they come to the passage where they are to make use of their favourite attitude : which they feldom arrive at by a natural tranfition from one motion to another, but abruptly start into it at once, as if they would fright their ill-judging spectators into an applause. And, indeed, they teldom fail of carrying their point, if they perfevere in standing in ie long enough to tire the audience into a clap, that seems given to relieve the actor from his uneasy situation, and themselves from the undelightful view of it. properly. It is not enough that his mind is really moved to pity, anger, love, scorn, &c. but he muft express his feelings, fo as to become the character. A porter and a gentleman may feel every paffion incident to human nature; but they will neither feel nor express alike; their manner, their expreffion, in voice, look, and gefture, will be as different as the ftile they talk in, or the garments they wear: a man in low life may very well expreis the paffions or humours of the former'; but the latter will certainly require a perfon of better breeding; one more converfant in, and observant of, polite life. This, as the author of these reflections rightly observes, ' requires • education, reading, experience;' he might have added, a philosophical turn of mind, capable of difcerning and diftinguishing mankind in general. Playing is, indeed, the ftudy of the human species: the judicious reader may, probably, perceive, without our pointing them out, there are some who do this. To mention a Garrick were neediefs; to name any more, as the number is very small, were invidioufly to damn the unnoticed remainder: but for this confideration, we could here take pleasure in doing some justice to certain of our present performers, who, to use our author's words, 'critically diftinguish and prefervé the specific difference of characters *. • An actor's voice must be tuneable, if not melodious, and his ear not infenfible of cadence and harmony,' fays our author, in fect. 2. but it were to be wished that our players would not feem to attend so much to the mufic, or ftrength of their own voices, as fome of them frequently appear to do; wherein they * Somewhat appofite to this we find in Theo. Cibber's introduction *to the life of Barton Booth. (fome account of which was given in Review, vol. IX. p. 291.) After obferving, that the fame requifites for making a good painter, are neceffary for compleating the actor, he adds, 'It is allo neceffary he should have a well-formed 6 body, a fenfible countenance, a happy natural ease, or well-ac⚫⚫quired freedom, in his motion; a quick-feeling of the various passions; masterly elocution; a genteel education; an early acquaintance with the polite part of the world; and a thorough knowledge of life: studying not only books, but men and manners; their virtues, vices, foibles, humours, and all the several movements of the mind. He must duly weigh the different man ner in which different characters feel and exp ess the same passion: • fo it is in vices and follies, every villain appears not the fame, ⚫ is not actuated by the same motives; nor is every fool, fop, or • coxcomb alike, or to be acted all in the fame manner; fince many ⚫ of them vary as much as youth and age, or the courtier and the ruftic. aré nay, a are so entirely taken up, as to neglect the circumstances, and. situations, of the character. We shall briefly pass what our author advances in his fections on figure, voice, ear, memory, and artificial pauses. These last are certainly a great help to an actor, but he ought to have the utmost degree of judgment in the use of them; the eye, the countenance, the whole man, must speak, when passion! seems too big for utterance, or when reflection stops the intended speech. A vacant eye at such a time shews the imagination vague: and actor should let the audience read his thought in his countenance, even when he is filent. Figure is so neceffary to the tragedian, that this fingle advantage shall ensure to an actor of inferior skill, more fuccefs, than may fall to the lot of one who far furpasses him in art and judgment; and, if a happy voice is joined, what numberless • defects do they not often atone for! This writer has pointed out many natural perfections that an actor ought to poffefs; yet his observations will afford the less advantage to the performer, as they contain not any rules that: can be of great use to him. Our author has rather pointed out to the spectator what he ought to expect in a player: but what he will too rarely meet with. That the paffions require different modulations of the • voice, into the soft, the plaintive, the flow, the brifk, the rapid, the stern, the exclamatory,' every body will agree with this gentleman; but to acquire, and how to use these modulations naturally, and with propriety-for this the actor must be beholden to nature, art, an excellent master, right feelings, great application, a strong judgment, and much practice. Our reflector points out the neceffity of a competent skill in dancing and fencing, to direct the actor in the management" of his hands and feet. There is no doubt but these acquifitions will help the freedom of his motions in general; but there is (permit us the use of a French phrase we do not often avail ourselves of) a certain je ne sçay qu i, in the manner and address, that neither dancing nor fencing can give; and which we often find in men unskilled in either: and whatever excellence a player may arrive at in those garnitures of education, he will move most like a gentleman when he thinks least of them. To move properly, and, as this author fays, 'to 6 put on grace, dignity, ease, and politeness, the actor muft have the regular and conftant ideas of fuch accomplishments" ' in his memory.' If his ideas are just and strong, there will be no aukwardness, uncanness, or impropriety in his behaviour, B3 |