pieces he is acting and with all these preparations there is no wonder if he for the time being forgets his identity and acts the “ villain " faultlessly true.
Take side by side an Indian actor -we have grave doubts as to the propriety of applying the coveted epithet-Nine times out of ten he is a book-hater. He can hardly understand the meaning of the passages. He has taken no special pains at mastering the stage toilete but thinks he is a born actor and depending on that inborn quality he acts the " Hero. ” When he is acting he is aware of his personality and there is no wonder if he makes such a pitiful show on the stage : " Action suited to the words " is an exception with him and he exhibits such masterful strokes of overacting or perfect mockery. If we want to raise the stage level we must once for all show our positive repugnance for such mockery and convince the stage that we will not stand such humbug any more. Educated men must take the lead. We do not want sympathizers but we dreadfully are in want of active workers on the field, As regards Sangzil plays there can be no two opinions when we say that every year there is a retrograde step. The scientific music is dying out and its place is being taken up by the " variously modulated up and down songs. " It is an attempt in the direction of a simplification but we are afraid that the process is being carried on to a dangerous extent, and if the growth is allowed to continue will ere long smother up the " old music. " No doubt the mob is strangely appreciating the change but we think that the stage people are to be held responsible for this exhibition of low taste. They have nourished and fostered their low tastes, and instead of acting the rulers, they are now acting the ruled." And now what is at the root of all this mischief? In our opinion we can put them down as such:-
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हे पान प्रमाणित केलेले आहे.
भाग ३ रा.