The evening world. Newspaper, March 3, 1900, Page 7

How 10 PI layalavalaraln Written Exciusively for The Evening World. a LL EDLADLD IDET OCODDD IN TWO LESSONS. | LESSON NO. 1. fhe Serious Side of Resalind’s Natere. | |" all my study of Shakespeare's pias | I have always found that there tr! @ an accurate description of the lead- (ng characters in the text of the play. | 1 have avolded traditions, unless my own conception of a role should reveal) @ tradition, I have had very little opportunity to eee a performance of “As You Like It" from the front, so in these articles T/ have only set down the result of a labor | with the play, that ts quite apart from the oritic’s labor. I am on the stage to aot, and have fittle time to criticise, ‘The first thing to do, if you are study: | | mg Rosalind, is to thoroughly under- etand her position in the story. Rosalind ts not merely a stage part ‘written to display comely acting—ahe ts @ bereine, with a touch of sadness in her nature, Her sorrow is in the fact @hat her father ts banished by Duke Preserien. On this account she has acquired « utterness, a contempt for the court in ‘whieh she lives. Bhe ts already & woman who has suf- fered, whove pride has been wounded, enG her wits, well echooled at court, are he weapons of her resentment. Resaling is very tender, the tenderness that is part of gentle birth and good Qreeding, and she ts authoritative, ac- @ording to the dignity of her station at q@vurt. Rosalind is a princess; her father !s the rightful heir to Frederick's duke- dom. Particularly is it necessary to bear in 3 N. $i CPA E EPO PORE REDE SES REE EE aie e td beth dich ddd baie qmind this fact, for it lenée dignity and Grace to the entire performance, Resalind's firet scene in the play te Perhaps the most diMcult. Later en, the costeme, the comedy, the situation lift her into prominence; but in this opening ecene with Cella, the key of her whole Mature is revealed, and a dramatic note fe touched, that should be retained through the entire performance. She entera with Celia {n a court gown of the period, and she should walk and move and look ike a princess, “I pray thee, Rosalind, sweet my cos, Be merry,” says Cella. “Dear Celia, 1 show more mirth than Tam mistress of, and would you yet I were merrier? Unless you could teach | A Me to forget a banished father you must ote not teach me how to remember any ¢x- traordinary pleasure,” Rosalind replies, and there is a tender sadness in her voice; not weak or wavering, but with quiet rebuke for Cella's lack of intimate knowledge of such suffering as hers. ‘The relationship between Rosalind and Calin is @ valuable indication of Rose- lind’e nature, because all that Cella auggeste in meek affection for her friend fy put into action by Rosalind. Celia is the spirit and Rosalind the executive agent of a great deal that Cella suggests, Son onerey to sustain her executive ability. The sympathy between these two characters is Leg vette pets Cella is introspective, Rosalind ob} ve. One would be incomplete without the other, Bhak is so & poet that charncteriestion ts no enough to justly t ft peat, e rec! q it must be given to thelr paseagen muat | cen Propunciation must be very clear, but eh has “seg Iven @ recitation ve neve , "because I ‘consider 100 alent e to [ay SETHE tna a reg ot these liminary peeparatees, ent hares te eee in her own world, Li hor first scene Resalind says to I will forget the condition of my estate to rejoice in val So she exerts her will to and thi and speare indici pore pod KS when > . amoothneas, Her very silence and har, paticase Speak to the people, and pparent Mey if her presence: ete a ol a a subtle nance, not an emotional die- y of sorrow. Bho tides It trem the world of hecrmctative and caltored bresding, | cs cipenl eorri mr. Kan cance 1% Poste ns teva, wall ‘meviece. Tas rector, Rev will deliver @ Sorles’ of ca "The Bowes ld . yi i it il { q i $5 5 i a i 2 i ' i i fi i it Hi mnt ah Pe Ly ifehlil att seplt f i l Rosalind has splendid vitality and a/ ful Hy pity her." | con SLEEPING BEAUTY AWAKES FROM TWO YEARS’ SLUMBER SOLES R eee ete ees eee he ee (Special te The Evening Worl.) and {t is known that if she recovers BAN FRANCISCO, March %--Eitda| they will be married e| Wilbur, the beautiful society girl who| During her long sleep Mies Wilbur has ago sank into @ trance as the lost but little weight, and even hy an attempt at suicide by gas, | beauty has not suffered, though she has, quarre! with her betrotted, | leas color In her cheeks. Bhe seems to! eyes a few) he in perfoct physical health, and phy- miled sadly | siclans belfeve that her mental allment "Then | will disappear suddenly, leaving her as she relapred Into her former cond'tion. one whe arises in the morning after o Repeatediy since then, however, she has | night's refreshing slumber. jawakened and murmured the words,| Mr. Dunphy and Miss Wilbur are sink back to sleep, mombers of two of San Francisco's Dunphy calls constantly at the house, | most Prominent families, | . POF O86-SOHSS HOGS HEe->. but {t ts In her eyes, and a If occasional minor note of her v Without this charm, this spel! of hi ache in Rosalind’s impersonation, character bears incomplete relation | 7 to the drama, to the other characters tn the Play to the joy and feminine tender- near of her love-comedy with Orlando. True comedy depends largely upon the tenderness of heart beneath the surface, Fog nino it fe not Lory ng it ts farce OF tia oF qcee Ir. Roralind a mapersonstion of true comedy, an of graceful wae Roralind's admiration f rlando $8 petoaly love. ft iret it. She im enter with Charles the Wrest! and Js at once attracted to him, for: ff her previour sadness. “Is yonder the man?” ene asks with | « interest, and when the Duke FEDASIGD EOD DEL4O9-0 0944664140400 ¢ 0 ¢ 6 “Are you crept hither to see the wrestling?” Rosalind still looking tntently at Or- 40, answers almost eagerly with de- my Itege! So please you give us) Jeave.”* ‘The Duke then tells Rosalind of the ate Salt take littie delight tm tt, T “You fake little fat you, there is such odds tn the indicating Orlando, the peak move him.’ Sa AE rea she nddresses him After the Gret night che telle her friend abest ber stage life, It {a gomewhat diMcult for me to tell what first prompted me to adopt @ his- . 1 think I was tired of My nent lessen will tell you how fo interpret the comedy of Resa- liné'e temperament. 3.7 ‘The hold @ cenferesce et Bed fet Pours vest in: i a] #2 Hi F t Fr ie SH Hl a | au 5 riee, three Sewators and. really, | Hepresenta- 1 ji A it ; i reli t i k ts THE WORLD: SATURDAY EVENING, MARCH §% 100. THIS IS A TRUE STORY OF HOW I BECAME AN ACTRESS. 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