It requires broad sympathy and a vital
realization of the subjective view-point of different characters, with an
appreciation of the relative force of different appeals to those
characters, in order that the responsive voice may have the convincing
ring which expresses the psychology of the character represented, and not
merely the mannerisms and externalities of impersonation.
Impersonation may be more easily achieved intellectually, requiring only
keen observation and the power of imitation. Dramatic interpretation, on
the other hand, deals mainly with the phase of human nature which is not
exterior--the interior force of the character. We would classify these two
departments in this way, though in the highest dramatic work elements of
both phases are combined. Pantomime is more essential to the development
of impersonation, but dramatic interpretation gathers power from the
psychological appreciation attained from the studies pertaining to
personal development. In dramatic interpretation the voice is a much more
significant feature relatively than is the detail of gesture in pantomime.
Impersonation absolutely requires the finest detail of mannerism to be
represented in the action.
It has been very well demonstrated that the quality of the so-called
"line" of the voice is influenced in accordance with dramatic action.
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