Dramatic instinct is a delicate perception of, quick and keen
sympathies for, and ability to express the various phases of human
nature. Deep study and care are necessary for the best development
of these faculties; but the nerves must be left free to be guided to
the true expression,--neither allowed to vibrate to the ecstatic
delight of the impressions, or in mistaken sympathy with them, but
kept clear as conductors of all the heart can feel and the mind
understand in the character or poem to be interpreted.
This may sound cold. It is not; it is merely a process of relieving
superfluous nervous tension in acting, by which obstructions are
removed so that real sympathetic emotions can be stronger and
fuller, and perceptions keener. Those who get no farther than
emotional vibrations of the nerves in acting, know nothing whatever
of the greatness or power of true dramatic instinct.
There are three distinct schools of dramatic art,--one may be called
dramatic hysteria, the second dramatic hypocrisy. The first means
emotional excitement and nervous exhaustion; the second artificial
simulation of a feeling. Dramatic sincerity is the third school, and
the school that seems most truly artistic. What a wonderful training
is that which might,--which ought to be given an actor to help him
rise to the highest possibility of his art!
A free body, exquisitely responsive to every command of the mind, is
absolutely necessary; therefore there should be a perfect physical
training.
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