Virginia Tracy

Virginia Tracy

Summary

Portrait of Virginia Tracy Virginia Tracy The Handicap of Beauty (1915)

But as I understand the more articulate voices from the audience, all this "box-office" pressure, all this clamor that fairness must be pink and smiling, all this hampering indifference to newer and finer uses for personal beauty, comes from the riffraff—from the matinée girl and the tired business man. It is true that an actor's audience does consist of three estates: the general public, to which, of course, nobody belongs; the superior public, to which we all belong; and the professional critics. It is this general public of nobodies, then, which rivets beauty's chains?
Source: Wikisource

Portrait of Virginia Tracy Virginia Tracy The Handicap of Beauty (1915)

When I speak of beauty's handicap, I am not joining the general chorus of beauty's detractors. The handicap I refer to is not that which will be only too readily granted me—the handicap from within, the temptation of one's mirror, the desire of loveliness to shine and dazzle. No, my fellows in the audience, the essential handicap is the handicap from without, the handicap of our making—nothing more or less than the public's terrible preoccupation with appearance; the very thing, of course, that is commonly supposed to work in beauty's favor.
Source: Wikisource

Portrait of Virginia Tracy Virginia Tracy The Handicap of Beauty (1915)

Personal loveliness, as I have said, is a handicap to the person who means business, not to the person who, as far as the stage is concerned, means nothing at all. But suppose that behind your beauty you bear the world the true dramatic gift, and insist upon its being "thoroughly worn out before you are thrown on the scrap-heap." If the beauty that you see is not your own, but glows like the bright face of variety and impersonation, so that you want to play neither Lady Lillian, the Hero's Bride, nor Goldy Locks, the Dressmaker's Delight, but, let us say.
Source: Wikisource

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