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THE PLASTIC ART
If you appear on a platform or on a stage to play in a drama, or to sing in opera, or to sing a simple song, there must be an absolute harmony between the expression of your art, be it acting or singing, and your body.
I shall go further and say that even before you have the opportunity of expressing your art, your physical appearance must prepare the public that it will experience perfect art — that it will not be shocked by a discord between the art and the exterior of the artist.
It is a well-known fact that while each individual of a large audience might be personally more or less receptive, more or less indifferent, the ensemble of an audience is nevertheless most sensitive. A crowd is easier moved to tears, or to laughter especially, than the individual.
Can you imagine a singer, for instance, stepping on the platform, racing up hurriedly towards the public with long steps and swing-
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