Plays, Acting and Music (Link MOD download bellow)automotive business auto car insurance driving safety family safety home insurance outdoor safety travel insurance weather weather safety
Plays, Acting and Music
In all my critical and theoretical writing I wish to be as little abstract as possible, and to study first principles, not so much as they exist in the brain of the theorist, but as they may be discovered, alive and in effective action, in every achieved form of art. I do not understand the limitation by which so many writers on æsthetics choose to confine themselves to the study of artistic principles as they are seen in this or that separate form of art. Each art has its own laws, its own capacities, its own limits; these it is the business of the critic jealously to distinguish. Yet in the study of art as art, it should be his endeavour to master the universal science of beauty.
By myself one could take a look at, as you'll be able to have a look at the mechanism of the body, no longer the principle of lifestyles itself. What is carried out mechanically, after the heat of the blood has cooled, and the divine injuries have ceased to take place, is precisely all that was consciously skilful within the overall performance of an artwork. To see all this mechanism left naked, because the shape of the skeleton is left naked whilst age thins the flesh upon it, is to analyze more without difficulty all this is to be learnt of shape, the art which not art but nature has hitherto concealed with its merciful masking.
The art of Sarah Bernhardt has always been a very aware artwork, however it spoke to us, once, with so electrical a surprise, as if nerve touched nerve, or the mere "contour subtil" of the voice had been laid tinglingly on one's spinal wire, that it become hard to examine it coldly. She turned into Phèdre or Marguerite Gautier, she was Adrienne Lecouvreur, Fédora, La Tosca, the real lady, and she or he became also that different real woman, Sarah Bernhardt. Two magics met and united, in the
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