American Film Acting: The Stanislavski Heritage |
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Page 3
... Michael Chekhov , each of whom interpreted Stanislavski in a different way , and contributed to the American understanding of the system . The System Defined Stanislavski's experiments were designed to find means of controlling the ...
... Michael Chekhov , each of whom interpreted Stanislavski in a different way , and contributed to the American understanding of the system . The System Defined Stanislavski's experiments were designed to find means of controlling the ...
Page 23
... Michael Chekhov . Each of these individuals not only contributed to the acting styles of the American stage , but appeared in the mainstream of American film in the late thirties and forties , just as Nazimova did in the twenties ...
... Michael Chekhov . Each of these individuals not only contributed to the acting styles of the American stage , but appeared in the mainstream of American film in the late thirties and forties , just as Nazimova did in the twenties ...
Page 30
... Michael Chekhov moved to Hollywood where he opened his acting studio in 1939 and appeared in ten major features , including Song of Russia ( 1944 ) , Spellbound ( 1945 ) , which was nominated for Best Picture , and Specter of the Rose ...
... Michael Chekhov moved to Hollywood where he opened his acting studio in 1939 and appeared in ten major features , including Song of Russia ( 1944 ) , Spellbound ( 1945 ) , which was nominated for Best Picture , and Specter of the Rose ...
Contents
Background | 1 |
American Stage | 7 |
Arrival Interpretation | 21 |
Copyright | |
9 other sections not shown
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Academy achieve action Actor Best Supporting Actors Studio Actress Best Actor Actress Best Supporting Adler affective memory American Film analytic approach artistic Awards became Belasco Best Actor Best Best Actress Best Best Director Best Supporting Actor Best Supporting Actress Boleslavski Books Century character cinema concentration considered continued created Critical David developed directed Director early emotional emphasis experience experimentation expressed Fall feelings fifties film acting given Griffith Group Theatre History Hollywood Ibid idea imagination impact inner Jo Van Fleet John Karl Malden Kim Hunter later Lee Strasberg March Method Moscow Motion Picture Movies nature observation Paul performance period physical Place play preparation Press problems production psychological published realism reality recall requirements Richard Robert role scene screen sought stage Stanislavski system star stressed style success Supporting Actor Best Supporting Actress Best techniques television Theatre Arts Theatre Magazine theatrical thirties truth Tulane Drama Review Winter World York