However, in the tragic parts, my vigour increased. I learned to portray transitions for the sake of fusing the different contrasts; a capital but difficult study of detail, tedious at times, but of the greatest importance. The lamentations in a part where two extreme and opposing pa.s.sions are at play, are like those which in painting are called "chiaro-oscuro," a blending of the tones, which thus portrays truth devoid of artifice.
In order to succeed in this intent, it is necessary to take as model the great culture of art, and also to be gifted with a well-tempered and artistic nature. And these are not to be confined to sterile imitation, but are for the purpose of acc.u.mulating the rich material of dramatic erudition, so that one may present oneself before the audiences as an original and artistic individuality.
Some people think that distinction of birth and a perfect education will render them capable of appearing upon the stage with the same facility and nonchalance with which one enters a ball-room, and they are not at all timid about walking upon the boards, presuming that they can do it as well as an actor who has been raised upon them. A great error!
One of the greatest difficulties that they meet is in not knowing how to walk upon a stage, which, owing to the slight inclination in con struction, easily causes the feet to totter, particularly if one is a beginner, and especially at the entrances and exits. I myself encountered this difficulty. Though I had dedicated myself to the art from my infancy and had been instructed with the greatest care every day of my life by my grandmother, at the age of fifteen my movements had not yet acquired all the ease and naturalness necessary to make me feel at home upon the stage, and certain sudden turns always frightened me.
When I began my artistic apprenticeship, the use of diction was given great importance, as a means of judging an actor. At that time the audience was critical and severe.
In our days, the same audience has become less exacting, less critical, and does not aim to improve the artist, by counting his defects. According to my opinion, the old system was best, as it is not in excessive indulgence and solely by considering the good qualities, without correcting the bad ones, that real artists are made.
It is also my conviction that a person who wishes to dedicate himself to the stage should not begin his career with parts of great importance, either comic, dramatic, or tragic. The interpretation becomes too difficult for a beginner and may harm his future career: first, the discouragement over the difficulties that he meets; secondly, an excessive vanity caused by the appreciation with which the public apparently honours him. Both these sentiments will lead the actor, in a short time, to neglect his study. On the other hand, by taking several parts, he becomes familiar with the means of rendering his part natural, thus convincing himself that by representing correctly characters of little importance, he will be given more important ones later on. Thus it will come about that his study will be more careful.
SALVINI AND ROSSI
One of the greatest of the living examples of the school of realism is my ill.u.s.trious fellow artist, Signor Tommaso Salvini, with whom, for a number of years, I had the fortune to share the fatigues and the honours of the profession which I also shared with Ernesto Rossi. The former was and is still admired. His rare dramatic merits have nothing of the conventional, but owe their power to that spontaneity which is the most convincing revelation of art. The wealth of plasticity which Salvini possesses, is in him, a natural gift.
Salvini is the true exponent of the Italian dramatic art
APPEARS AS LADY MACBETH
In the month of June, 1857, we began to rerehea.r.s.e "Macbeth," at Covent Garden, London, It had been arranged for our company by Mr.
Clarke, and translated into most beautiful Italian verse by Giulio Carcano. The renowned Mr. Harris put it on the stage according to English traditions. The representation of the part of Lady Macbeth, which afterward became one of my favourite roles, preoccupied me greatly, as I knew only too well what kind of comparisons would be made. The remembrance of the marvellous creation of that character as given by the famous Mrs. Siddons and the traditional criticisms of the press, might have rendered the public very severe and difficult to please.
I used all my ability of interpretation to reveal and transmit the most minute intentions of the author. To the English audience it seemed that I had really incarnated that perfidious but great character of Lady Macbeth, in a way that surpa.s.sed all expectations.
We had to repeat the drama for several evenings, always producing a most profound impression upon the minds of the audience, particularly in the grand sleep-walking scene. So thoroughly had I entered into the nature of Lady Macbeth, that during the entire scene my pupils were motionless in their orbit, causing me to shed tears. To this enforced immobility of the eye I owe the weakening of my eyesight.
From the a.n.a.lytical study which I shall give of this diabolical character [at the close of her Memoirs] the reader can form for himself an idea of how much its interpretation cost me (particularly in the final culminating scene), in my endeavour to get the right intonation of the voice and the true expression of the physiognomy.
AS MANAGER
My exceptionally good health never abandoned me through my long and tiresome journeys, though unfortunately I never was able to accustom myself to voyaging by sea. All through those rapid changes I acquired a marvellous store of endurance. That sort of life infused in me sufficient energy to lead me through every kind of hardship with the resolution and authority of a commanding general. All obeyed me.
None questioned my authority owing to my absolute impartiality, being always ready, as I was, either to blame or correct him who did not fulfil his obligations, also to praise without any distinction of cla.s.s those who deserved it. I almost always met with courtesy among the actors under my direction, and if any one of them dared to trouble our harmony, he was instantly put to his proper place by the firmness of my discipline.
The artistic management of the plays was left to me in all its details. Every order and every disposition came from me directly. I looked after all matters large and small, the things that every actor understands contribute to making the success of a play.
Concerning my own personal interests, they were in charge of a private manager.
I am proud to say that my husband was the soul of all my undertakings.
As I speak of him, my heart impels me to say that he ever exercised upon me and my professional career the kindest and most benevolent influence. It was he who upheld my courage, whenever I hesitated before some difficulty; it was he who foretold the glory I should acquire, he who pointed out to me the goal, and antic.i.p.ated everything in order that I should secure it. Without his a.s.sistance I never should have been able to put into effect the daring attempt of carrying the flag of Italian dramatic art all over the globe.
FIRST VISIT TO AMERICA
During the month of September, 1866, for the first time in my life, I crossed the ocean on my way to the United States, where I remained until May 17th of the following year. It was in the elegant Lyceum Theatre of New York that I made my debut, on the 20th of September, with "Medea." I could not antic.i.p.ate a more enthusiastic reception than the one I was honoured with. I felt anxious to make myself known in that new part of the world, and let the Americans hear me recite for the first time, in the soft and melodic Italian language. I knew that in spite of the prevailing characteristics of the inhabitants of the free country of George Washington, always busy as they are in their feverish pursuit of wealth, that the love for the beautiful and admiration for dramatic art were not neglected. During my first season in New York I met with an increasing success, and formed such friendly relations with many distinguished and cultured people that time and distance have never caused me to forget them. While writing these lines I send an affectionate salutation to all those who in America still honour me with their remembrance.
BEGINS TO PLAY IN ENGLISH
I made my fourth trip to London in 1873. Not having any new drama to present and being tired of repeating the same productions, I felt the necessity of reanimating my mind with some strong emotion, of discovering something, in a word, the execution of which had never been attempted by others.
At last I believed I had found something to satisfy my desire. The admiration I had for the Shakespearean dramas, and particularly for the character of Lady Macbeth, inspired me with the idea of playing in English the sleeping scene from "Macbeth," which I think is the greatest conception of the t.i.tanic poet. I was also induced to make this bold attempt, partly as a tribute of grat.i.tude to the English audiences of the great metropolis, who had shown me so much deference.
But how was I going to succeed? ... I took advice from a good friend of mine, Mrs. Ward, the mother of the renowned actress Genevieve Ward.
She not only encouraged my idea, but offered her services in helping me to learn how to recite that scene in English.
I still had some remembrance of my study of English when I was a girl, and there is no language more difficult to p.r.o.nounce and enunciate correctly, for an Italian. I was frightened only to think of that, still I drew sufficient courage even from its difficulties to grapple with my task. After a fortnight of constant study, I found myself ready to make an attempt at my recitation. However, not wishing to compromise my reputation by risking a failure, I acted very cautiously.
I invited to my house the most competent among the dramatic critics of the London papers, without forewarning them of the object and asked them kindly to hear me and express frankly their opinion, a.s.suring them that if it should not be a favourable one, I would not feel badly over it.
I then recited the scene in English, and my judges seemed to be very much pleased. They corrected my p.r.o.nunciation of two words only, and encouraged me to announce publicly my bold project. The evening of the performance, at the approach of that important scene, I was trembling! ... The enthusiastic reception granted me by the audience awakened in me all vigour, and the happy success of my effort compensated me a thousandfold for all the anxieties I had gone through. This success still increased my ambitious aspirations, and I wished to try myself in even a greater task.
I aimed at no less a project than the impersonation of the entire role of Lady Macbeth in English, but such an arduous undertaking seemed so bold to me that I finally gave up the idea and drove away from my mind forever the temptation to try it.