522 PROCEEDINGS OP SECTION H. 



which would ensure their being well cared for and looked after. 

 Many a sad story could be told of the brutal and inhuman 

 treatment that has been doled out to the young acrobat or tight- 

 rope dancer, whose marvellous feats are possibly night after night 

 drawing the acclamations of a crowded house, ignorant alas, of 

 all the pain and sorrow underlying the gloss and tinsel. The only 

 law, and that is in England, of which I am aware, bearing directly 

 on the employment of children in theatres is in connection with 

 dangerous performances — 42 and 43 Vict. c. 34 — wherein it is 

 made a punishable offence for any person, parent, or guardian to 

 cause any child under fourteen years to take part in such per- 

 formance. 



In a general way the health of an actor may be spoken of in 

 very favourable terms. There is not too much, but yet quite- 

 sufficient study to keep his mind healthily occupied. The amount 

 of exercise, with rehearsals by day, and performances by night, is 

 quite ample to keep his pliysical powers actively engaged, while, 

 with a moderate amount of excitement, both are maintained in 

 good repair by plenty of change in association, ideas, and di'ess. 

 Various circumstances stand in the way of careful and reliable 

 enquiries being instituted as to any diseases or afflictions common 

 amongst the profession. Among other sources of information 

 there would probably be a fruitful field of search in the books of 

 the various English sick-fund, provident, and benefit societies. 

 Mortality statistics are also difficult to get. Judging from the 

 lives of some of our eminent actors and actresses, the practice of 

 their art appears on the whole to have had little or no effect in 

 curtailing the normal natural existence, though it is possible that 

 other things equal the longevity may be ascribed to the constant 

 mental application exercised. As far as my limited experience 

 goes there are no reported cases of the complaint popularly known 

 as " clergyman's throat " ; an explanation of this is easy when we 

 bear in mind that whereas the parson usually harps more or 

 less on the same note, which necessarily, sooner or later, becomes 

 strained, the actor is continually employing a very varied series. 

 Eyesight among actors is usually strong, the eyes can be long fixed 

 without the slightest blinking. Short sight is exceptional, but 

 this is only what we should have been led to expect from the veiy 

 nature of the requirements of the profession. The different 

 phenomena comprised under the term " stage-fright" are very far 

 indeed from being thoroughly understood, though possibly these 

 are all explicable by sudden want of confidence brought on by 

 various causes ; whereas in the olden days performers had often 

 to be content with a day or two in getting up their parts, it is 

 quite common nowadays, thanks to a plentiful market and long 

 runs, for actors and actresses to have the full advantage of a four 

 or five weeks' rehearsal. 



