book fails to please us we can put it down. An escape from this kind
of dulness is easily made, but in a theatre the auditor is imprisoned.
If the acting be indifferent, he must endure it, at least for a time.
He cannot withdraw without making himself conspicuous; so he remains,
hoping that there may be some improvement as the play proceeds, or
perhaps from consideration for the company he is in. It is this
helpless condition that renders careless acting so offensive.



PREPARATION AND INSPIRATION

I have seen impulsive actors who were so confident of their power that
they left all to chance. This is a dangerous course, especially when
acting a new character. I will admit that there are many instances
where great effects have been produced that were entirely spontaneous,
and were as much a surprise to the actors who made them as they were
to the audience who witnessed them; but just as individuals who have
exuberant spirits are at times dreadfully depressed, so when an
impulsive actor fails to receive his inspiration he is dull indeed,
and is the more disappointing because of his former brilliant
achievements.

In the stage management of a play, or in the acting of a part, nothing
should be left to chance, and for the reason that spontaneity,
inspiration, or whatever the strange and delightful quality may be
called, is not to be commanded, or we should give it some other name.
It is, therefore, better that a clear and unmistakable outline of a
character should be drawn before an actor undertakes a new part. If
he has a well-ordered and an artistic mind it is likely that he will