Download File
Download File Download File
A DRAMATIC CRITIC in giving with the North Teutonic gut- tural. In his early childhood he was taken to France, where he grew up, and, after dabbling for a short time in the clay of the sculptor, studied for the stage, and at the age of twenty appeared successfully, in Le Mari de la Veuve, at the Theatre Fran9ais, of whose company he afterwards became jeune -premier. In Paris he at- tained a great reputation, though he was often censured for his audacious disregard of the conventions of the classic drama. He had had a polyglot education, and early acquired a good knowledge of Eng- lish, which he taught himself to speak flu- ently and with a generally correct accent, though it was impossible for him quite to master the intonations of the language. In i860, with characteristic boldness, he assailed London, playing Ruy Bias in English at the Princess's Theatre. His success was signal, and for ten years as a star he made England his firmament, also [ "4 ]
CHARLES FECHTER holding the lease of the Lyceum Thea- tre from 1862 to 1867. He was sped on his transatlantic way by the praise of most of the critical journals of the great me- tropolis, and by the warm eulogium of his friend Charles Dickens. His complete abandonment of England for this country tends to prove that he had outworn the best of his favor in the British Isles. In New York Fechter's interpretation of Hamlet was greeted with a chorus of disapproval, broken by emphatic praise from several high sources, and his innova- tions upon received traditions as to the outer particulars of the performance were the subject of much disparagement. The public, however, were keenly interested in all his work, especially in his assump- tions of Ruy Bias, Claude Melnotte, and other romantic characters. I thought, and think, that most of the vexed questions of detail alluded to were matters of leather and prunello. Fechter's reasoning — de- [ 1^5 ]
- Page 83 and 84: WILLIAM WARREN through a vast galle
- Page 85 and 86: WILLIAM WARREN Senator from Massach
- Page 87 and 88: TRAINING FOR THE STAGE any other th
- Page 89 and 90: TRAINING FOR THE STAGE actors, and
- Page 91 and 92: TRAINING FOR THE STAGE not brought
- Page 93 and 94: TRAINING FOR THE STAGE rade;" Mr. M
- Page 95 and 96: TOOLE AND MATHEWS Mrs. Rousby, who
- Page 97 and 98: TOOLE AND MATHEWS rapidity against
- Page 99 and 100: TOOLE AND MATHEWS finesse, and dext
- Page 103 and 104: CHARLOTTE CUSHMAN figure and homely
- Page 105 and 106: CHARLOTTE CUSHMAN was great, the ac
- Page 107 and 108: CHARLOTTE CUSHMAN act, has been dis
- Page 109 and 110: CHARLOTTE CUSHMAN be so pronounced
- Page 111 and 112: CHARLOTTE CUSHMAN mendations " and
- Page 113 and 114: THE XII E. A. SOTHERN, Sr. most not
- Page 115 and 116: E. A. SOTHERN, SR. inverted as in a
- Page 117 and 118: E. A. SOTHERN, SR effective for mir
- Page 119 and 120: E. A. SOTHERN, SR. thrown completel
- Page 121 and 122: E. A. SOTHERN, SR traordinary were
- Page 123 and 124: E. A. SOTHERN, SR. Tragedian, a dra
- Page 125 and 126: E. A. SOTHERN, SR sought or seeking
- Page 127 and 128: THE ISOLATION OF ACTORS plish. Behi
- Page 129 and 130: THE ISOLATION OF ACTORS fictive mat
- Page 131 and 132: THE ISOLATION OF ACTORS rary life w
- Page 133: DURING XIV Charles Fechter the seas
- Page 137 and 138: CHARLES FECHTER psychic scheme, but
- Page 139 and 140: CHARLES FECHTER man, treasure, pabu
- Page 141 and 142: CHARLES FECHTER clouds, where Shake
- Page 143 and 144: CHARLES FECHTER and in his final dy
- Page 145 and 146: CHARLES FECHTER Glavis, there was a
- Page 147 and 148: CHARLES FECHTER on lines already in
- Page 149 and 150: CHARLES FECHTER internal discords,
- Page 151 and 152: THERE is XV Edwin Booth no occasion
- Page 155 and 156: EDWIN BOOTH A famous nomen I called
- Page 157 and 158: EDWIN BOOTH creations, because of t
- Page 159 and 160: EDWIN BOOTH ated with his name. Tha
- Page 161 and 162: EDWIN BOOTH gance and distinction o
- Page 163 and 164: EDWIN BOOTH thus to distinguish the
- Page 167 and 168: TOMMASO SALVINI combination tolerab
- Page 169 and 170: TOMMASO SALVINI the past fifty year
- Page 171 and 172: TOMMASO SALVINI ing Shakespeare and
- Page 173 and 174: TOMMASO SALVINI of rare delicacy be
- Page 175 and 176: TOMMASO SALVINI interpretation of K
- Page 177 and 178: TOMMASO SALVINI Every phase of the
- Page 179 and 180: TOMMASO SALVINI and sobbing; strong
- Page 181 and 182: TOMMASO SALVINI fresh and unconvent
- Page 183 and 184: XVII Adelaide Neilson NO player in
A DRAMATIC CRITIC<br />
in giving with the North Teutonic gut-<br />
tural. In his early childhood he was taken<br />
to France, where he grew up, and, after<br />
dabbling for a short time in the clay of<br />
the sculptor, studied for the stage, and at<br />
the age of twenty appeared successfully,<br />
in Le Mari de la Veuve, at the Theatre<br />
Fran9ais, of whose company he afterwards<br />
became jeune -premier. In Paris he at-<br />
tained a great reputation, though he was<br />
often censured for his audacious disregard<br />
of the conventions of the classic drama.<br />
He had had a polyglot education, and<br />
early acquired a good knowledge of Eng-<br />
lish, which he taught himself to speak flu-<br />
ently and with a generally correct accent,<br />
though it was impossible for him quite to<br />
master the intonations of the language.<br />
In i860, with characteristic boldness, he<br />
assailed London, playing Ruy Bias in<br />
English at the Princess's Theatre. His<br />
success was signal, and for ten years as a<br />
star he made England his firmament, also<br />
[ "4 ]
Change language