at an amendment to the law, such as
is desired, will interfere with the growth of art?

_Answer_. No one is endeavoring to keep stars from this country.
If they have American support, and the stars really know anything,
the American actors will get the benefit. If they bring their
support with them, the American actor is not particularly benefitted,
and the star, when the season is over, takes his art and his money
with him.

Managers who insist on employing foreign support are not sacrificing
anything for art. Their object is to make money. They care nothing
for the American actor--nothing for the American drama. They look
for the receipts. It is the sheerest cant to pretend that they
are endeavoring to protect art.

On the 26th of February, 1885, a law was passed making it unlawful
"for any person, company, partnership or corporation, in any manner
whatsoever, to prepay the transportation, or in any way assist or
encourage the importation or emigration of any alien or aliens into
the United States, under contract or agreement, parol or special,
previous to the importation or emigration of such aliens to perform
labor or services of any kind the United States."

By this act it was provided that its provisions should not apply
to professional actors, artists, lecturers or singers, in regard
to persons employed strictly as personal or domestic servants.
The object now in view is so to amend the law that its provision
shall apply to all actors except stars.

_Question_. In this connection there has been so much said about
the art of acting--what is your idea as to that art?

_Answer_. Above all things in acting, there must be proportion.
There are no miracles in art or nature. All that is done--every
inflection and gesture--must be in perfect harmony with the
circumstances. Sensationalism is based on deformity, and bears
the same relation to proportion that caricature does to likeness.

The stream that flows even with its banks, making the meadows green,
delights us ever; the one that overflows surprises for a moment.
But we do not want a succession of floods.

In acting there must be natural growth, not sudden climax. The
atmosphere of the situation, the relation sustained to others,
should produce the emotions. Nothing should be strained. Beneath
domes there should be buildings, and buildings should have foundations.
There must be growth. There should be the bud, the leaf, the
flower, in natural