For the film, what matters primarily is that the actor represents himself to the public before the camera, rather than representing someone else. One of the first to sense the actor's metamorphosis by this form of testing was Pirandello. Though his remarks on the subject in his novel Si Gira were limited to the negative aspects of the question and to the silent film only, this hardly impairs their validity. For in this respect, the sound film did not change anything essential. What matters is that the part is acted not for an audience but for a mechanical contrivance - in the case of the sound film, for two of them. 'The film actor' wrote Pirandello, 'feels as if in exile - exiled not only from the stage but also from himself. With a vague sense of discomfort he feels inexplicable emptiness: his body loses its corporeality, it evaporates, it is deprived of reality, life, voice, and the noises caused by his moving about, in order to be changed into a mute image, flickering an instant on the screen, then vanishing into silence ... The projector will play with his shadow before the public, and he himself must be content to play before the camera.' (Luigi Pirandello, Si Gira, quoted by Leon Pierre-Quint, 'Signification du cinema', L'Art cinematographique, op. cit., pp. 14-15.) This situation might also be characterised as follows: for the first time - and this is the effect of the film - man has to operate with his whole living person, yet forgoing its aura. For aura is tied to his presence; there can be no replica of it. The aura which, on the stage, emanates from Macbeth, cannot be separated for the spectators from that of the actor. However, the singularity of the shot in the studio is that the camera is substituted for the public. Consequently, the aura that envelops the actor vanishes, and with it the aura of the future he portrays.
It is not surprising that it should be a dramatist such as Pirandello who, in characterising the film, inadvertently touches on the very crisis in which we see the theatre. Any thorough study proves that there is indeed no greater contrast than that of the stage play to a work of art that is completely subject to or, like the film, founded in mechanical reproduction. Experts have long recognised that in the film 'the greatest effects are almost always obtained by "acting" as little as possible ...' In 1932 Rudolf Arnheim saw 'the latest trend ... in treating the actor as a stage prop chosen for its characteristics and ... inserted at the proper place'.* With this idea something else is closely connected. The stage actor identifies himself with the character of his role. The film actor very often is denied this opportunity. His creation is by no means all of a piece; it is composed of many separate performances. Besides certain fortuitous considerations, such as cost of studio, availability of fellow players, decor, etc., there are elementary necessities of equipment that split the actor's work into a series of mountable episodes. In particular, lighting and its installation require the presentation of an event that, on the screen, unfolds as a rapid and unified scene, in a sequence of separate shootings which may take hours at the studio; not to mention more obvious montage. Thus a jump from the window can be shot in the studio as a jump from a scaffold, and the ensuing flight, if need be, can be shot weeks later when outdoor scenes are taken. Far more paradoxical cases can easily be construed. Let us assume that an actor is supposed to be startled by a knock at the door. If his reaction is not satisfactory, the director can resort to an expedient: when the actor happens to be at the studio again he has a shot fired behind him without his being forewarned of it. The frightened reaction can be shot now and be cut into the screen version. Nothing more strikingly shows that art has left the realm of the 'beautiful semblance' which, so far, had been taken to be the only sphere where art could thrive.
* Rudolf Arnheim, Film als Kunst, Berlin, 1932, pp. 176 f. In this context certain seemingly unimportant details in which the film director deviates from stage practices gain in interest. Such is the attempt to let the actor play without out make-up, as made among others by Dreyer in his Jeanne d'Arc. Dreyer spent months seeking the forty actors who constitute the Inquisitors' tribunal. The search for these actors resembled that for stage properties that are hard to come by. Dreyer made every effort to avoid resemblances of age, build, and physiognomy. If the actor thus becomes a stage property, this latter, on the other hand, frequently functions as actor. As least it is not unusual for the film to assign a role to the stage property. Instead of choosing at random from a great wealth of examples, let us concentrate on a particularly convincing one. A clock that is working will always be a disturbance on the stage. There it cannot be permitted its function of measuring time. Even in a naturalistic play, astronomical time would clash with theatrical time. Under these circumstances it is highly revealing that the film can, whenever appropriate, use time as measured by a clock. From this more than from many other touches it may clearly be recognised that under certain circumstances each and every prop in a film may assume important functions. From here it is but one step to Pudovkin's statement that 'the playing of an actor which is connected with an object and is built around it ... is always one of the strongest methods of cinematic construction.' (W. Pudovkin, Filmregie und Fimmanuskript, Berlin, 1928, p. 126.) The film is the first art form capable of demonstrating how matter plays tricks on man. Hence, films can be an excellent means of materialistic representation.