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Show THE COMPOSITION OF BALLETS. 195 that the characters of a piece are very rarely seen to be habited either with truth or dignity. Many of those performers, indeed, want the means to perfect their imitations. In provincial theatres, neither actor nor audience pay any attention to costume ; if they are but gay, and fit the shape well, nothing further is required. The principal performers indeed are more appropriately dressed ; but those of the secondary and lowest class are habited in the most paltry manner. These glaring faults belong to the peculiar system of management in France, and consequently the artistes must not be exclusively blamed. Some means, indeed ought to be suggested to remedy the defects attending the French theatrical government; that, however, cannot now form a part of our inquiries. In the mean time, it is impossible to forbear condemning certain performers, who, through ignorance and inattention, commit the most palpable blunders, not caring to preserve a shade of resemblance between their habits and what is really original; yet these are well provided by the management with all that is requisite for costume, and have, besides, at Paris, every opportunity of consulting productions of art and of inquiring of men of learning. Their faults therefore are inexcusable; let those young persons who follow the theatrical profession avoid their example *. Talma performed the part of Coriolanus in a rich tunic and a Grecian helmet, which he had worn in the part of Achilles. Thus exchanging the appropriate and unadorned simplicity of the Roman casque, for the magnificence of Grecian armour. The same performer, also, played Niomede in the costume he had displayed as * From such remarks as these it must appear that M . B. is universal in his intentions; he endeavours to establish dramatic truth; and to expose theatrical absurdities wherever he finds them. |
