he stage wants to use his eyes to speak with, no other
way is left him but the poor one of staring straight at the public,
with whom he or she then gets into direct communication outside of
the frame provided by the setting. This vicious habit has, rightly
or wrongly, been named "to meet friends." Would it not be possible
by means of strong side-lights (obtained by the employment of
reflectors, for instance) to add to the resources already possessed
by the actor? Could not his mimicry be still further strengthened
by use of the greatest asset possessed by the face: the play of the
eyes?

Of course, I have no illusions about getting the actors to play
_for_ the public and not _at_ it, although such a change would be
highly desirable. I dare not even dream of beholding the actor's
back throughout an important scene, but I wish with all my heart
that crucial scenes might not be played in the centre of the
proscenium, like duets meant to bring forth applause. Instead, I
should like to have them laid in the place indicated by the
situation. Thus I ask for no revolutions, but only for a few minor
modifications. To make a real room of the stage, with the fourth
wall missing, and a part of the furniture placed back toward the
audience, would probably produce a disturbing effect at present.

In wishing to speak of the facial make-up, I have no hope that the
ladies will listen to me, as they would rather look beautiful than
lifelike. But the actor might consider whether it be to his
advantage to paint his face so that it shows some abstract type
which covers it like a mask. Suppose that a man puts a markedly
choleric line between the eyes, and imagine further that some
remark demands a smile of this face fixed in a state of continuous
wrath. What a horrible grimace will be the result? And how can the
wrathful old man produce a frown on his false forehead, which is
smooth as a billiard ball?

In modern psychological dramas, where the subtlest movements of the
soul are to be reflected on the face rather than by gestures and
noise, it would probably be well to experiment with strong side-light
on a small stage, and with unpainted faces, or at least with a
minimum of make-up.

If, in additon, we might escape the visible orchestra, with its
disturbing lamps and its faces turned toward the public; if we
could have the seats on the main floor (the orchestra or the pit)
raised so that the eyes of the spectators would be above the k