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Felix Cherniavsky - Maud Allan's Contemporries

Added 18th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 18th Mar 2022

Maud Allan 892 51 2008-2-60.jpg

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Felix Cherniavsky - Maud Allan's Contemporries

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Maud Allan Research Collection

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person text newspaper book illustration human face sketch photo poster Black and white

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ist The flaily Dews - SP Peksuary 26-1914 Feliruant February 26 , 1916 Jackie Saunders , Actress & Pantomimist . Balboa Theatre . Wil grip the audience . w . Emotions GREENLLE & DRAYTON to the brain . The audience must Sling's a Dances HEAR your story with the eyes . Pantages . The limitations of the photoplay make motion picture acting the ver ) most difficult art in the world . ART OF ACTING WITHOUT WORDS The player on the stage has a big advantage over the film actor in that he can thrill his audience with his voice , while the player on the By JACKIE SAUNDERS screen can only make motions wiggle his hands , feet , body , eyes Famous Balboa Star , Who Explains for Readers of The and mouth . These wiggles must be so expres . Daily News Language of Screen . sive that they actually talk . They must seem natural ; they must con duct thought , plot and theme with the directness of a high tension wire carrying current . These wig gles are the screen artist's only means of conversation . Every portion of the human form is called upon in making the body talk . Perfect unison of body makes for perfect pantomime . However , there are times when one portion of the anatomy will so overshadow all other parts that they seem to have no function is registering an emotion . Take the work of the head . When sorrow , pain or grief are expressed , the audience's attention is almost unfailingly directed to the face , es pecially if the player is in tears . Yet , every other portion of the body has done its part in directing the vision to the face . That indicates mastery of pantomime . The head must be considered from two aspects -- face and hair . In the case of a woman , her coiffure 18 a most important adjunct . Hair dress goes a long way toward es . tablishing character . Girlish sim plicity or vampire sophistication is revealed almost entirely by hair . dress . But no part of the body is more interesting than the face . It fig ures in the expression of every thought and emotion . The eyes , the ears , the nose , the mouth all play their individual parts . Two of them -- the eyes and mouth - are too important to dismiss in a para graph . They will be considered separately . Sensitiveness is best expressed with the nose . Delicate nostrils al ways convey refinement . Contempt cannot be more fitly indicated than by rumpling the nose . Few players have made a special study of the ears , but those who have and can control them , get startling results . The neck is effectively used by some players . As it is held , dif ferent suggestions are conveyed . - * | However , most people use it nat Expression of grief and sorrow tinally w shown by the tearful face in pic But the screen player who must ture at the top . At right , the make every little movement truly lips and eyes are posed in " The have a meaning of its own , studies Pout . " The lower picture ex all parts of the body with the idea presses coquetry . " Coquetry is of making each effective in lieu of the most subtle emotion to words when he essays to tell a show , " says Miss Saunders . story with film . " Flirtation is bolder and more The student of pantomime makes open . " most rapid advance who works be fore a mirror when practicing . I In a photo play the actor merely act each of my scripts before the makes motions . Everything is in- glass , trying different expressions dicated by the player's movements . to best portray different emotions This is pantomime . trying perhaps a dozen expressions to get the best effect for a single And this pantomimic expression emotion . I must reflect an intelligence that