They gather these as they want them, from the
hidden friend in his hutch at their feet. The occupants of the
proscenium boxes at the opera-houses must be familiarly acquainted
with the tones of the prompter's voice, as he delivers to the singers,
line by line, the matter of their parts; and occasionally these stage
whispers are audible at a greater distance from the foot-lights. In
operatic performances, however, the words are of very inferior
importance to the music; the composer quite eclipses the author. A
musician has been known to call a libretto the "verbiage" of his
opera. The term was not perhaps altogether inappropriate. Even actors
are apt to underrate the importance of the speeches they are called
upon to deliver, laying the greater stress upon the "business" they
propose to originate, or the scenic effects that are to be introduced
into the play. They sometimes describe the words of their parts as
"cackle." But perhaps this term also may be accepted as applying,
fitly enough, to much of the dialogue of the modern drama.
It is a popular notion that, although all persons may not be endowed
with histrionic gifts, it is open to everybody to perform the duties
of a prompter without preparation or study.
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