Company, producer and mem-
bers, 238-241
Competition, 20
Concealment of art, 46, 159,
Concentration, 72-75, 113
Concert, The, 237
Concerted effort, 101
Constance, 136
Control, 134-135, 137, 153
Conventionality in plays, 29
Conventions, 88
Conversation, 115, 116
Co-operation of managers and
stage specialists, 192, 193-
Coquelin, 263-264; use of eyes
in Cyrano, 85-87, 131, 132
Coriolanus, 234
Costume designers, 193, 215
Costumes, function, 215-217
Cottage in the Air, The, xxi
Condell, Henry, 248
Cough, 94
Court Theater, London, xxiv
Craft of acting, 3-4, 95, 105,
172-173. See also Tech-
nique
Craig, Gordon, 252-256
Crawley, Sir Pitt, xxi
Creative art, 257-259
Crescendo, 138-149, 152, 160
Critics, xviii
Cruikshank, 163
Cues, 64
Cushman, Charlotte, 7, 249
Cusius, 155.
Cymbeline, 139
Cynicism, 13
Cyrano, 263-264
Cyrano de Bergerac, xxiv, 85,
131, 132, 263
Dancing Girl, The, xxv, 250
David Garrick, xxi
Dewhurst, John, xxiii
Difficulties, v. 19
Dilettantism, 253
Distinctness of speech, 56
"Dog-towns," 199-200
Doing nothing, art of, 87, 96-
120
Dombey and Son, xxi
Don, xxi
Douglas, Richard, 184-187
Dramatic critics, xviii
Dress rehearsal, 197, 199-200
Drudgery, 60; see also Work
Drury Lane Theater, xxiii, 39
Dublin, 249
Dull moments, 119-120
Durban, xxii
Ear for music, 17
Earnestness, 7-8
Elementary lessons, 80
Elocution, vi, 46, 47
Emotions, 121-151; cumula-
tive, 140-141, 147, 148; defi-
nition, 121-122; expressing
mimicry, 22; eyes for con-
veying, 80-81, 82-83; feel-
ing, 123, 150; feeling and
simulating, 132; prepara-
tion for, 138, 139-140; re-
strained and expressed, 252;
unadorned, the basis of all,
128-129
Empress of Ireland (ship),
164
Enemy of the People, An,
xxiii, xxv
English language, 47
Entering the profession, 19-
42
Enthusiasm, 11
Enunciation, 56
Experiences, vi, viii
Exposition of play, routine,
102, 104
Expression, 122
Eyes, rule, 83; use, 79-87
Illusion, scenery, 178, 180,
182, 189
Imagination, 16, 220
Imitation, 258-259
Imogene, 139
Impersonation, essence of, 65
Individuality, ix
Ingot, Simon, xxi
Inn with the purple walls, 191
Insincerity, 13, 131
Interior scenes, 203-206
Iron works, 179-180
Irving, Sir Henry, xxiii, 58,
130, 243, 248, 264, 265;
Manchester experience, 164-
166; orchestra leader and,
222; use of eyes, 81-84
Irving, Lawrence, 162-164
Irving, Washington, 259
Ives, David, xxv, 250
Jefferson, Joseph, 109, 134,
135, 249; Rip Van Winkle,
259-260
Jenkin, Fleeming, xix
Jim the Penman, 125
Jokes, one's own, 159
John Bull's Other Island,
xxiv, 158
Jones, Henry Arthur, 237
Julius Caesar, xxiii, 38-40
Jungle scenes, 180-181, 182
Jüttner, Dr., xxi
Kean, Charles, 243; voice, 50
Kemp, William, 248
Key. See "Tone."
King Henry IV, xxv
King John, 136
Kismet, 226-229
Klein, Charles, 260
Lady of Lyons, The, 35
Lauder, Harry, voice, 48, 59
Langtry, Mrs., xxiii
Laughter, 57, 231; killing an
audience's, 157; making an
audience laugh, 152-160;
sensitiveness to audience's,
154-155; too much, 158
Laws of acting, ix
Laws of play-making, xvii
Lear, 234
Lewis, George Henry, xix
Lighting effects, 190, 200-203,
205; natural, 209-210; too
ingenious, 206-209
Listening, art of, 96, 105, 108,
110, 111, 113, 117, 118
Literature, vi, vii, 246-247
Little things, 119-120
London Assurance, 35
Lorance, Pierre, 24
Low tones, 54-55
Lung power, 53, 138
Lyceum Theater,
Macari, 124, 125
Macbeth, 124, 234
Macbeth, 35, 255
Macbeth's castle, 253-254
Machinery, elaborate stage,
186, 187
Macready, 51
Major Barbara, xxiv, 105, 155,
156
89; Irving in, 164-166
Manoeuvers of Jane, The, 237
Mansfield, Richard, xx
Mantell, Robert, 33
Margate, xxiii
Marie Antoinette, 133
Marseillaise, 221
Masquerader, The, 64
Measure for Measure, 35
Mechanics, 59, 60, 79, 80
Melbourne, xxiii
Melnotte, Claude, 100
Menas, 37
Merchant of Venice, 66-75
Mercutio, xxi
Mermaids and sea-shells, 187
Merry Wives of Windsor, The,
xxi
Metallic tone, 53
Method, change in, 244-247;
lack, in producers and man-
agers, 198
Micawber, xxi
Midsummer Night's Dream, A,
Natural speech, 43-60
Naturalness, 171-175
Neighborhood Playhouse, 169
Nervousness, 143-145, 197
New Theater, London, xxiv
New Theater, New York, xxi,
New York Company, 26-30
New York try-outs in small
towns, 199-200
Nottingham, 24
Repose, 94
Reserve power, 85
Restraint, 148, 252
Richard III, 35, 50
Rip Van Winkle, 109, 259
Ristori, 6, 23, 136, 249, 265;
quoted on conditions, 132,
133
Road company, 22-26
Robespierre, xxiv
Rodin, 265
Romeo and Juliet, xxi, 35,
Rosmersholm, xxiii
Rostand, 263-264
Routine exposition, 102, 104
Royalty Theater, xxv
Run of Luck, A, xxiii
Russia, 252
St. James's Theater, London,
xxiv, 103
St. John, Holt, xxv
Salvation Army, 156
Salvini, 243
Savoy Theater, London, xxi
Saxe-Meiningen Company, 39
Scenery, astounding, Broad-
way, 189-192; baffling, 180-
181; crudity, 181; outdoor
set, 201; realistic, effect,
176-212
Scenic artist, 177, 189, 193,
201
School for Scandal, The, xxi
Scotch play, 173-174
Sea-shells
Self-consciousness, 172
Self-examination, 8
Selfishness, 98, 119
Self-possession, 133
Sensitiveness, 143
Servant, part of, 62-63
Shadows, 209
Shakespeare, xxii, xxiii, 66,
70, 71, 247-248, 254-255
|