The Critic And the Drama

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Nothing is more aesthetically and artistically dubious and in- secure than the appraisal of acting, for it is based upon the quicksands of varying human emotionalism, and of aural and visual preju- dice. Were I, for example, one hundred times more proficient a critic of drama and life than I am, my criticism of acting would none the less remain often arbitrary and erratic, for I would remain constitutionally anaesthetic to a Juliet, however otherwise talented, who had [95] The Critic and the Dr...ama piano legs, or to a Marc Antony who, for all his histrionic power, presented to the vision a pair of knock-knees. This, I well appreciate, is the kind of critical writing that is promptly set down as flippant, yet it is the truth so far as I am concerned and I daresay that it is, in one direction or another, the truth so far as the majority of critics are concerned.
The most that may be said of the soundness of this or that laudatory criticism of an actor's performance is that the performance in point has met exactly — or very nearly — the particu- lar critic's personal notion of how he, as a human being, would have cried, laughed and otherwise comported himself were he an actor and were he in the actor's role.


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