you are capable of nothing, not holding your soul by yourself at the peak of co you stand totally in need of grace and ersonally tony communicates but is the © only the gifts that are blessed- Dlessing. You parta but when you partake supper itsel 1ot only of the bread and THE CRISIS AND A CRISIS IN THE LIFE OF AN ACTRESS by Inter et Interunfairness, or atleast the may have to cor Letusimagine a ine an actress who and that she is fortunate enough the target (which is indubitably a tremendous ) of ome spiteful person's persec eat after year, the envied for jormally paid), it may very well be possible that even this most fortunate situation for an actress is quite shoddy and cheap. ~If'it is true, as is sid, chat the wardrobe of the Royal Theater is thought to be very expensive and valuable, it is certain that dhe wardrobe of the newspaper ertis is dread fully shabioy. year after year, Just knows exactly in advance what day, s0 also does she know exactly tes in advance, Two or three times a week ind admired, cited for excellence; already in three months, she will more than once have the newspaper ze~ ey with special em= nde tilbage) again. and speech {Vendy phasis may be called, since they retw Bx304 “The Crisis and Ci fran again. Once or twice, in good years successful seedy fellow or would-be po cd for every ar exhi tune favors her very m hhandkerchio® and hat erowas. An ‘on everyone's lips ev kerchief; she knows admiring discussion, also of those who are dying to ing to chatter abo ing lke this year year. Itseems 50 gl insofic as she is to nourishment of this a sense on the costly jon, find encouragement in it, be strengthened to ever new effort, even the most superbly talented pecs in a weaker nay sil look around desp foran expression of iation. Then at such a time she will really fee, has often sensed herself, how empty all ‘in her praise and celebrated her the same insipiity now becomes bored Wi ‘wants to get rid of her, does not want to see her any- may thank God if it does not wish to have her exter idity acquires a new sixteen-year-old owed as they Rosifiengius® begins to fancy j le that he is doing the artist a favor by chivalonsly continuing to say the same thing. But to be chivalrous to an artist is the very height of effrontery, a sticky ipertinence, and the most loathsome obt who is somebody and is essential 0 ipso [precisely thereby hae clam co being recognized for tis very qualifies. tion, no more and no less. form of att criticism the hypocritical bowi declarations of love from old bald-headed 1 nets, yes cruelty, to women dedicated to the service of ar, why, not that esthetic culture is so rare among people? Wher ta the fem igories and thought-pattens essentially in common butcher ‘enthusiastically abouts damned pretty and devilishly pert wench of eighteen yi this prejudice could be effec tually eradicated, And a prejudice it actually is, yes, a bestialBx 306 The Crisis and Criss for as Actress true thata woman hecomesan actress in her eighteenth year; if she becomes that at all, she becomes thatrather in her thirtieth year or later, inasmuch as this acting ia comedies in the cighteenth year i etheticaly a dubious sort of thing, To be jon with the second stage of devel- iso fac from being chivalry that che opposite, to admite iss of ixtoeo year is cally Sattery. Ido not really think. that an essentially cian could persuade himself to specially ly perionescere [shudder greatly at] this dubjousnes. True, it will often happen thatthe ginl who at cighteen has created a sensat carry through. Be that as it may, but in that case she has not catilly een an act $0 she has created a sensation on as when a young gil ereatesa semsa~ fon a winter or two. On'the other band, tion, in the esthetic sense, seriously eppropr kc that it would ako be very beneficial eo ge this, altogether unesthetic superstition about the eighteen years com- pletely eradicated and to get it made completely clear that the important decision comes much later—this would also serve to safeguard the actresses’ future, The issue itself has not only e+ the degree psychological therefore I am amazed that itis not mot subject of consideration, Wha the p 1, co be able purely exthezically to chologically and esthetically only one metamorphosis, certainly a difficult one, but for that very reason a beautiful and significant cone. In other words, the more that has been given and therefore the more thatis invested inthe first extension,’ the more difficult ‘when she fist made her appearance and the fi brilliant succes. It is esthetically appropriate for me to speak of ee and to have the joy of speaking oft, because this inves- ion is idea! and does not concern its hastily superseded ju and the author is morphosisis th She makes her debut, then, in her seventeenth year, The Criss and Ces for on Actes 307 and the more a basically unesthetie has been aware ofthe frst extension, bic i transformed into an alarmed, cor even sullen opposition to the metamorphosis, An 1 has never had the good fortune to be in decisive jon of what captivates and enchants the unesthetic specta- tors to such a high degree perhaps can have, in compensation for that, the good fortune to make her mecamor, the course of ten years, for example, has taken the liberty of making its declared f angry—with the fvori aw have in mind, therefore, an actress at the very beginning of her the first success of her early yout spon but instead is, to what est. sesses-—well, what she possesses is very difficult to define, simply because it fan indefinable something that nevertheless ornaipo-308 ‘The Cris and Crisis foran Actes: ‘ently asserts itselfand is unconditionally obeyed, The grump actress, on the other hand, who possesses 30 t0 speak, all yecome tired; just the closes an elementary indefitigables sore hhaustibly rich, so that ceverso much mor such as this uzerly without coq) eke than a happy, innocent mind's joyful, tiumphant avaren: aioe Greatessend vierika ofits indescribable good fortune. Therefore d ‘would be able to do without good fortune, oven if he were al— comet added stimulus for the spectator: th ready estheticaly aware of whether the best of allthis still does safeguards the trustworthines ofthe whole and protecs the ext= belone pet bberance with complece sec gx310 ‘Tae Cris and Cris fn x Across (One would think thae trustworthiness on che one hand and on e,and youthfulness ae utterly hererogencons qualificas gets stall, Youths by no mens sent, Their inseparability consistent matching of roguishness and teustwo an elderly but stil lively man with total partiality for a roguish “By Jove, that’s a trustworthy litle miss.” Fle is but that she is trustworthy, and yet ily declaring that she is zoguish, and thie thnes, hat exuberance on the one hand and a safeguard on the other would be single, that it must be completely secured. In what is compounded, thing can very well be missing, but something that is single, iediacy, must be complete ot, which amounts to the sane is complete. A little exuberance is eo ipso 20 ‘ungracefil. Just because ofits com safeguard, genuine exuberance bas frst and fore- ig that may es= ate of the opinion that ich is crue only of a false "The Cis and Crisis for ar Actress ai es breath in order laugh and privately revel in the exuberance of the caprice, we continually fee! calmed, indescribably per- suaded, and lulled, ait were, by the complete safeguard, because ‘aprice gives the impression that this can go on for any length >. On the other hand, ifa spontancous comecia Im firstand foremost, there reu om of the heat, mn but because of a calming, So also with exuberance, complete safeguard th first efiees is completely cal complete safeguard and trustworthiness, thatthe sutrenders—in exuberance, See, here itis again: exuberance and trustworthiness seem to be a strange compound. To say that ex= berance is reliable isa strange way of tall the comect and only a new expresion for roguishness, because ‘exuberance is precisely 10 leality, that every touch off thought o and givet a sonorous echo, and that she has an tunique sensitiveness, Thus she relates herself sul thor's words, but she relates herself to herself in312 ‘The Criss and Cis for an Anse The Criss and Crisis for on Acres 33 home in her study, not lack of power sfly based on the exertion ofthe tension, but this is notscen, is not even intimated—only the lightness is made manifest. A can press something down, bu it can also inversely con pressing down ancl express the presse by the oppo~ Her definable poses not only naturel charm awkwardly. She She knows how she become: exau “The Crisis and Casi for an Actess sufficient to convince everyone th 1d more than one specimen of such a nine talent in each generation. Therefor. duty to admire and a common concern to protect cis rar Alas, and even if it cannot be called exacdly a duty, comes, as an inevitable result ofhuman weakness an interest of curiosity to see how long she now i able to last. Yes, hemvan joy ind highest mo- sessination begins. This is not envy, far he part of the admiration, 3d, $0 to speak, until, ts upon the creating of this sion, which out of sheer admiracion admires al- sly. }© mind once again something that has been fee~ 1 Fourveen years have passed and she is now in her thirtyefist year. During these not so few years, she has been the object of that incessantly admiring r age of time by using not, on the basis of app correctly, Jet us not forget, unfairly to her, the presumed glory of the admiration ion, that docs not indulge in the expression is not changed, yet this unchanged expression becomes something else through hhow many indeed are those who are self deceived through habit, so that they seem unchanged but yet ze as if emaciated in their inner beings, so that they do, to be sure, love the same people, love them, but very dully and very mea sgerly, so that they do, to be sure, use the same tender expressions but very weakly, very powerlesy, Ifa king were to visita humble fi Batif bis majesty were to keep oF day, how long would and of all dangerous sophists, habit already difficult enough to realize t lover the years, but the faud of hak unchanged, that one says the same thing, unchanged, and yee is very changed and yet says i, very changed. Just for that reason, all truly unworthy so seldom that che rare sight pro= duces a fantastic effect Past experience shows that this can be done. The method, masterfully described! by Shakespeare in Hency IV's charge to Prince Henry,” has been used successfilly by a great cumber of kings and emperors and ecclesiastics and316 ‘The Crist and Cris fran Aces. agation with the afd ofan illusion, rath, however, have always had everyday Iked on the 9 ideacrich author who has something: ance and making a profit from ing himself with ever greater diligence, finds himself able to ‘work at an unusual speed, the crowd soon becomes accustomed inks: I slovenly stuff. The crowd, of course, judge whether something is sticks to—the illusion. Ifa pastor, for example the otherwise ‘The Cass and Crisis for an Actss 317 s0 highly gifed late Coure Chaplain in Berlin, Theremin , also City Chaplain. Chief Court Chap- like che king's golden ely for working indeed be some- would be so great or twelfth Sunday years has constantly beon ‘course, people have seen318 "The Crisis and Crisis for an Actress gettosce her as offen as twice a week, It goes without saying that they sll continue to admire, but ina generation how many are shere likely to be who know how to preserve the vigilance of fervency and apprecfazion so th ration they ean see her with th originality thet she preserves! Ni fal, then at leas Izy in the refore, are people so ungrate- ful as to God—simnply because they have @ Izy ides that they can always have him—alas, he carmot by dying ever make them feel ‘what they lost. O human admiration, what sheer vanity you are, and wot least when you think you are being consta No change, then, has taken place in the expression of admira- tion and recogni {aspirated sound} oft softer breathing ofa peris getting older. No one will ads ‘one will admit to having said it. The tension oft situation is all che more painful simply because her existence has ‘been a national fat, People do wish her well (we shall no con the part the envy of individuals may have in the get such an opinion); they are really angry with time, thae make her older now when they have cozilysetled down into the Admiration’s habit of thinking that she should always remain sightcen years old. But yet, yet they cannot be at ease with this idea that she is getting older. No one considers how they gratefully make her metamorphosis more and more how angratefilly they repay her by changing recolle ‘opposition at the decisive moment—and no one considers that this whole thing may be balderdash that is eotally out of place, at leate in esthetics, since her era will really begin with the metamorphosis. i + a as nature preserves continuity hindsight, which natural is not decisively used or does not decisively pearance before some time has passed~precisely this isthe metamorphosis, The one who has feminine youthfulness onl sense can have no metamorphi ness in this sense is not i which upon the superven: ag something away from the ‘make the genius more and more mani~320 ‘The Criss and “Tine Chie and Cr for an Acts ‘The most significant assigr critique, now whea for the unt given to an acteess wi power she relates exactly, justbecaus ideally to the idea. lyrical power is surely the 1 wonder if t would ever actually occas to an esthetician 1 sway: what se and cry, is feminine youthfulness? Mos fire, and many other things of that sort bu Tikely answer actually only in gallery categor years old, But Jnadequate for judging a conception of Juliet. What the ¢ ive thought pro an idea! petforma pre tically, che requirement is that the 1 idea is, relate itself to the idea ata. th the dis and dial tion of the ideality—the ishly lovely and da plays Julierorpasses tained by the thoughe that the best power how to make use of the essential powers, but note wel service of a jon that con~ ess with the fsitely not the er ‘ones. There are assignments in which the excess of powers first youthfulness should be used as a charming game. Si sments, and this can be ingen [of more gified a youngman who qua you idea of whit bot lyrics will ken away the at he now relates 10 his idea p sen himselfin a profounder sense to his ides, ‘of that firse youthfulness lackis the metamorphosis of poten sir to the beginning. range of ass ‘years the metamorpho: them that time has no power over them, There resistance to the power ofthe years—ic is perfect precisely over the years that it develops. resistance to the power of the years precisely over the years that it becomes manifest, Both phenom- ‘ena are essential rarities, and both have this in common, that they ‘become more rare with each year, just because they are dal cally compounded, their existence year after year ‘main dialectical, Each yeae will make the atempt to demonstrate its thesis about the power of the yeu ing to making it clear how sfeguarded, de it would be a ch The Ci td Ci for an Actress 325 ugh misunderstanding of the proper con- jsanderstanding he beginning mis- takenly and unesthetically takes a wrong view of wisat comes later of, more corcectly, of the highest Summer 1847 Inter et Inter