1926-09-14 — Page 3

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THE HONGKONG DAILY PRESS, TUESDAY, SEPTEMBER 14TH,

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[1,28

THERAPION NO. 1 THERAPION NO. 2 THERAPION NO. 3.

· Wo, 3 for Wiadder Deburrk, 16 for Mood. J. Más Damen No. for Chronia Waksman, Boka ST GALERIE I CORDIONIKA, SPARER IN MUSSAIN, BL, DE, ŽE OKUL

(MAS | PHIM 10, Bandas de EvoMEONE DIELLOR, 42

MYSTERY IN THE AUDIENCE,

COMPARISONS BY GEORGE ARLISS

When I was very young and ambitious I wanted to be an omnibus conductor. Looking back upon that lofty aspiration, seems to me that the desire must have been born in me because the busman had an audience, from whom he endeavoured to draw responsa.

HONGKONG. STOCK EXCHANGE-

CLOSING QUOTATIONS,

Sarta 13, 1916, Hongrong Bank $1,100 sel

Dou London......334 nom." Chartered Bank....... model buy. Mercantile Bank A. not.

Do

U nom E.&O.Bak East Ana Bank

Canton IngarAROG

Underwriters

******

1 nom.

THE 165 Hou

North China Insurance

to Inrara Yangtase InsuranUS........... A large part of the old London bus Ohias Fire Insurance conductor's energy was spent in an effort Hongkong Fire Laurenes ..$600 om. to entertain both the public and his fal- Douglas low 'busmen.

M. Blemmbad) mom, Tags*****

(Del.),

U. &

Da

No doubt in more unfrequented stretchinas (Fred) ches of his route he occupied his time thinking out his jokes, and took the re sponse he got from his audience as a reward:

But we laughed more easily at the bus conductor than we should have done if he had been a paid cracker of wheezes in the bill at the Coliseum, because he was on the street-a difference of environ. ment. The attitude of the mind of the audience varies.

Shall

Transporta Star

Ferr Waterbeate Wana Nugan Malibon Nagara Benguets.... Kala Mining A langkas (combined)

(single) Shanghai Explorations.. shanghai Loans. Kanin Tronoh Minos Ural Chapiana HK, & K. Which, W. Docks, Hongkowa.... New Kingineerings........ Shangha H.K. 18. Hotal

My first work was at the Elephant and Castle Theatre in the eighties, when "melodrama "* was strong and plays were artificial. Of course, plays are artificial to-day: if they were not they wouln't be plays. But in the 'eighties they were more stereotyped The authors nearly always wrote them with rounds of applause in their minds, and built their situations out of Hines and phrases that brought an automatic response. These plays trained the audience to respond automatically, and the fact that they did what was expected of them kept. the authers, doing this artiɓcial thing.

Obviously the audience that had train-w ed itself to respond automatically to certain sentiments was not a thinking. audience. So when, about twenty years nge, the pictures" arrived, that par- ticular audience drifted to the pictures because the new entertainment gave them the same invitation to respond automatic ally.

Ps. Bus bay. 1200 buy-

$25 buy.

HOM

Sa buy.

$43 buy,

yuj. bay,

$ nom. ..$15+ now.

$36

$1† nom.

1204 buy. Th. 18 nom. „T. 5 nom. Tia. 7 nom

nom.

**79/- bay.... ..8/nom. ..$110 sel. ...$58, nom.

TL170

bay.

6.10 bay

+15 L15) no buy. ..SCU num.

...sel

Hongkong Lands Hongkong Realty (..)....ții nom.

Territoriais Humphreys states.. Prince's Buildings... Bural Lands" བཅ ྂ*4***-*!

Cationa

Orientals Shanghai Colic (alay

Do. China Buses Hongkong Tramways... Peak Trams (old) ......................

Do. Singapore. Tractions Tax's DEREINSD- Then the authors had to write for what Amusements ............................... we term a more intelligent audience-Csatan Ices and so, by degrees, there has come into Cements (combined) ....

Do. being the play of to-day, which can still be a great success without being helped by any applause whatever.

SILENCES.

Having played for ten years in the English provinces, then in Luodon for several years, then in the United States and in Canada-altogether a very large English-speaking territory-I can testify that audiences, for all fundamental hamour and fundamental emotions, are the same. They respond in exactly the same way. The difference in humour is a local one-a difference of expression, of words. If it is real humour it can be phrased differently and get there" just the same........

In The Green Goddess" I had an opportunity of comparing audiences. This was an English play; I think Mr. Archer wrote it for E. B. Irving. I' played it first in America, and played it as it was written. It was not American- ised in any way.

Well, New York took every point, and all through the tour in America every point was taken. When I brought it to the St. Jantes's 1923 not a point was missed here, and all the laughs came in the same places and in the same way. I think this is fairly good test.

In my experience of audiences I have come to note a curious thing, namely, a difference in the quality of the silence that obtains in the theatre during the performance of a play. There is the re- spectful silence and there is the silence of intense interest. Both silences may |be absolute: in each case there is no outward evidence of response. But the actor

his knows if he has "got" audience, or he knows if his audience is merely sitting back and saying-to use an American idiom--" show us!"

No sound comes to indicate to the actor the quality of the silence. It is a feeling he gets the operation of a magnet "be- tween actor and audience that only an actor can appreciate. We speak com- monly of the magnetism" of an actor, but seldom of the magnetism of an audience. Yet the effect is just the same. Just as an actor may give out sonte thing that seizes and holds you, so he may receive from the audience a feeling that they are with him-dl experiencing his emotions, all acting and moving with him, all in the crisis or predicament or situation that he is in the play.

$13 bay, 15,60 sel

$11 nom.

Spl. .

11. 9 buy.

.Tis

1 bay. Tis, si buy. thể là bay.

nom. .....$154 norm.

,$7.00 nom.

14/6 buy. 33 sel

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$7$ noma £12 nom.

(old) (....................$11 nom. (new) .....$I) nom. China Lights (combined)

Do. (ul) Do.

$iy nom. 913) nom. lu noin.

China Providenta (u).........$5 boot Constractions 100. Dairy Farm....$10 se Der A Wingatel. Hongkong Hectocs

..$60 zel..

Macão Electrics

が

Qu

HK. Hopes (combined).......$26 sel Do. (old)............$10 sal

(DOW).

.....$5 101. Lane Crawfords.. Mackintosha...

Sincerts ***tear Unned Asbestos Watsons {oid} Wm. Powells.

39 nom.

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$11 now.

$19 mat

buy.--buyers; sel-sellors; a →ales kom.—Jminal.

» EXCHANGE RÅTES.

(BRITISH WIXKLESS SERVICE}

RUGBY, September 12th.

Paris

Brussels Amsterdam Berlin Copenhagen Vienna, Helsingfors

Lisbon

167.11/16

1763

12.11

20.385

18.27

34.4

1921

2.17/38

Buenos Aires

Shanghai

-45.19/39

9/9)

Yokohama

1/11.87/39

New York

Geneva

4.836. 525.13

134

18.155

22.14

1631

.31.715

7.15/32

1/5.81/64

9/2

28.7/18 28.9/18

Milan

Stockholm Oslo Prague Madrid

Rio Bombay

Hongkong Silver (spot) Silver (forward)

When I was closing my season and the time came for me to speak, and say good- bye, the intense silence and the feeling of affection and friendship in the audience was the most extraordinary embrace I have ever experienced." It was something active: it was not imaginary : it was an active force that came from the audience.

THE ACTOR'S EYES. The main factor in holding an audience

With the coming of wireless we are is sincerity on the part of the actor. There are actors (mainly, I think, those beginning to understand the active power of the French school) who hold that that comes through the ether, and I think having mastered the technique of a part. the scientists will be able to explain. an actor should be able to hold the sooner or later the something", which audience without continuing feel. I comes from the audience to the actor- that something" which is carried think this is possible; one may hold the audience, but I doubt if one can move it through from- the brain of the people If I am going through a part I hare in the auditorium to the player upon played many times, and my thoughts the stage:-GEORGE ARLIES in Evening stray-as they are apt to do-1 am likely to become suddenly conscious that the audience is not with me; if I at once give myself up undividedly to my work and concentrate my thoughts on the part, the change in the audience is quite eur prising.

Only an actor realises this mysterious link with the audience and I cannot ex plain it. I have a theory, but it may be wrong. My theory is that the point of contact is in the eyes of the actor-the magnetism comes through his eyes and effects contact with the sympathy of the audience. If you think what you are doing, the eye is so impelling that it carries the audience away.

I have never known such a thrilling feeling as I experienced for a moment in Chicago, where I had been playing "Dis- raeli in Louis N. Parker's play for about six months. "Disraeli' was a play ta which people went five, ten, twenty and even as many as twenty-five times; it captured certain strata of the public, but failed to touch others at all

(Continued on next Column.)

News.

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IN

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