the most personal of arts, yet the acting in a photoplay is a somewhat smaller factor in the total result than acting in the stage pantomime; and neither kind of acting can compare in importance with acting in the stage play, where the magic of the actor's voice works its spell upon the audience.
In the photoplay the player, whether at rest or in action, is usually the emphatic part of the picture; but he is only a part, and the relation between that part and the other parts of the picture can best be established by the director. If the player attempts to compose the picture in which he appears, he is handicapped, not only because he cannot see himself, but also because he cannot see any other portion of the composition from the same point of view as the ultimate spectator who is temporarily represented by the director. He is, in fact, in danger of spoiling his own pantomime, of destroying his own power.
The frequent abuse of the close-up, for example, is often due to the mistaken idea that an actor's facial expression is the sole means of representing emotion. To think that dramatic pantomime consists of making faces is just as foolish as to think that dancing is merely a matter of shaking the feet and legs. It is really as important for a screen actress to be able to show grief with her elbows or knees as for a dancer to have rhythm in her neck. The "star" actress, therefore, who insists on several facial close-ups per reel reveals a lack of capability in her own art, as well as an over-developed appreciation of her own looks. The further objection to the close-up is that it takes the player out of the picture. For the moment all the setting, all the other players are shut off from sight.
