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Disraeli, Isaac, 1766-1848

"Curiosities of Literature, Vol. II (of 3) Edited, With Memoir And Notes, By His Son, The Earl Of Beaconsfield"

Such a tutored actor among
us would be like a paralytic arm to a body; an unserviceable member,
only fatiguing the healthy action of the sound parts. Our performers,
who became illustrious by their art, charmed the spectators by the
beauty of their voice, their spontaneous gestures, the flexibility of
their passions, while a certain natural air never failed them in their
motions and their dialogue."
Here, then, is a species of the histrionic art unknown to us, and
running counter to that critical canon which our great poet, but not
powerful actor, has delivered to the actors themselves, "to speak no
more than is set down for them." The present art consisted in happily
performing the reverse.
Much of the merit of these actors unquestionably must be attributed to
the felicity of the national genius. But there were probably some secret
aids in this singular art of Extemporal Comedy which the pride of the
artist has concealed. Some traits in the character, and some wit in the
dialogue, might descend traditionally; and the most experienced actor on
that stage would make use of his memory more than he was willing to
confess. Goldoni records an unlucky adventure of his "Harlequin Lost and
Found," which outline he had sketched for the Italian company; it was
well received at Paris, but utterly failed at Fontainebleau, for some of
the actors had thought proper to incorporate too many jokes of the "Cocu
Imaginaire," which displeased the court, and ruined the piece.


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