V THE PLAY

The play as a whole is a matter of prime consideration for the actor, though it only comes into his province quâ actor in a secondary way. In the working of a theatre it is the province of the stage manager to arrange the play as an entity; the actor has to deal with it only with reference to his own scenes. But the actor must understand the whole scheme so as to realise the ultimate purpose; otherwise his limitations may become hindrances to this. Irving, who was manager as well as actor, puts the matter plainly from the more comprehensive point of view:

“It is most important that an actor should learn that he is a figure in a picture, and that the least exaggeration destroys the harmony of the composition. All the members of the company should work toward a common end, with the nicest subordination of their individuality to the general purpose.”

Here we have again the lesson of restraint—of reticence. There are also various other forms of the same need, to which he has at various times alluded. For instance, speaking of the presentation of a play he said:

“You want, above all things, to have a truthful picture which shall appeal to the eye without distracting the imagination from the purpose of the drama.”

In fact Irving took the broadest possible views of the aims and possibilities of his chosen art, and of the duties as well as of the methods of those who follow it. He even put it that the State had its duty with regard to the art of illusion:

“The mere study of the necessities and resources of theatre art—the art of illusion—should give the theatre as an educational medium a place in State economy. Just think for a moment: a comprehensive art effort which consolidates into one entity which has an end and object and purpose of its own, all the elements of which any or all of the arts and industries take cognisance—thought, speech, passion, humour, pathos, emotion, distance, substance, form, size, colour, time, force, light, illusion to each or all of the senses, sound, tone, rhythm, music, motion. Can such a work be undertaken lightly or with inadequate preparation? Why, the mere patience necessary for the production of a play might take a high place in the marvels of human effort.”