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When I first saw Mimi Aguglia she was little more than a crude force, a great struggling light, that sometimes illuminated, nay often blinded, but which shone in unequal flashes. Experience has made of her an actress who is almost unfailing in her effect. Watch her, for instance, in the second act of Zaza, in the scene in which the music hall singer discovers that her lover has a wife and child.
I saw Duse for the first time in the part of Santuzza, and I remember to this day a certain gentle and pathetic gesture of her apparently unconscious hand, turning back the sleeve of her lover's coat over his wrist, while her eyes fasten on his eyes in a great thirst for what is to be found in them. The Santuzza of Mimi Aguglia is a stinging thing that bites when it is stepped on.
The usual banquet was prepared and it was a late hour that night before the ceremonies were concluded. The fishermen of the city presented Paul with an address signed by over four thousand people connected with the water, and Marianne Aguglia, Comtesse Desmouceaux published a poem commemorating the event. Victor Emmanuel invited Paul to exhibit before him in the arsenal, or military port.
But not even Réjane has given us the whole animal, in its self-martyrdom, as this woman has given it to us. Such knowledge and command of the body, and so frank an abandonment to its instinctive motions, has never been seen on our stage, not even in Sada Yacco and the Japanese. They could outdo Sarah in a death-scene, but not Aguglia in the scene in which she betrays her secret.
Yet there was absolute conviction in most of us that their work was sincere and at times quite tremendous as a matter of pure acting. The word "tremendous" must be confined to the efforts of Signora Mimi Aguglia Ferrau and Signor Grasso.
And so we were seeing a new thing on the stage, rendered by actors who seemed, for the most part, scarcely actors at all, but the real peasants; and, above all, there was a woman of genius, the leader of the company, who was much more real than reality. Mimi Aguglia has studied Duse, for her tones, for some of her attitudes; her art is more nearly the art of Réjane.
What stage-crowd of a hundred drilled and dumpish people, as we see it at our big theatres, has ever given us that sense of a real, surging crowd as the dozen or so supers in that last struggle which ends the play? But the play really existed for Aguglia, and was made by her. Réjane has done greater things in her own way, in her own way she is a greater artist.
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