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Updated: June 19, 2025
'What does that signify? cried Jenkin; 'we are not here to be happy, but to be good. On a friend remarking that Salvini's acting in OTHELLO made him want to pray, Jenkin answered, 'That is prayer. Though admired and liked by his intimates, Jenkin was never popular with associates. His manner was hard, rasping, and unsympathetic. 'Whatever virtues he possessed, says Mr.
A whole neighborhood rises up before me: the barn, with its haymow, where the hens laid their eggs to hatch, and we boys hid our apples to ripen, both occasionally illustrating the sic vos non vobis; the shed, where the annual Tragedy of the Pig was acted with a realism that made Salvini's Othello seem but a pale counterfeit; the rickety old outhouse, with the "corn-chamber" which the mice knew so well; the paved yard, with its open gutter, these and how much else come up at the hint of my far-off friend, who is my very near enemy.
He is a magnificent creature, and you are already on his ride. His generous temperament is contagious; you find yourself looking at him, not so much as an actor, but as a hero.... The admirable thing in this nature of Salvini's is that his intelligence is equal to his material powers, so that if the exhibition is, as it were, personal, it is not simply physical.
It was hard to dethrone the majestic and princely Moor, the stately general of Salvini's conception, to give place to the frank, free-hearted soldier, intoxicated with the gladness of successful wooing, that Rossi brings before us. Certain melodramatic points, also, in the earlier acts, such as the "Ha!" wherewith Rossi with upraised arms starts from Desdemona when Brabantio reminds him
Signor Salvini's recent visit to America I need scarcely mention: its triumphs are still fresh in the memory of the public, and the only drawback to its complete success was the unhappy fact that the eminent artist did not appeal to his audiences in their own language.
Much of Salvini's mechanism in Lear was crude. He put the king behind a table, in the first scene which had the effect of preparation for a lecture; and it pleased him to speak the storm speech away back at the upper entrance, with his body almost wholly concealed behind painted crags. With all its moments of power and of tenderness the embodiment was neither royal, lovable, nor great.
Perhaps it is not true, but, as I believe it to be true, I may as well state it: It was never any pleasure to him to see the acting of other actors and actresses. Salvini's Othello I know he thought magnificent, but he would not speak of it. How dangerous it is to write things that may not be understood!
The arrival of the belated spectre in the middle, with a jerk that made him nod all over, was the last accident in the chapter, and worthily topped the whole. It may be imagined how lamely matters went throughout these cross purposes. In spite of this, and some other hitches, Salvini's Macbeth had an emphatic success. The creation is worthy of a place beside the same artist's Othello and Hamlet.
We got along remarkably well, for his soul was in his work, and I gave every spark of intelligence I had in me to the effort to satisfy him; so by the fifth or sixth performance we both felt less anxiety about the catching of our cues than we had at first. On the night I speak of, some one on Salvini's side of the stage greatly disturbed him by loud whispering in the entrance.
That is the Saul of the Bible and of Alfieri's tragedy; and that is the Saul whom Salvini embodied. It was a colossal monument of human suffering that the actor presented, and no one could look upon it without being awed and chastened. Salvini's embodiment of King Lear was a remarkable manifestation of physical resources and of professional skill.
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