American Film Acting: The Stanislavski Heritage |
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... felt that Stanislavski's ideas could not fully be realized until the development of the cinematic process . Stanislavski sought " gestureless " moments , for example , in which the actor was totally concentrated ; Pudovkin claimed this ...
... felt that Stanislavski's ideas could not fully be realized until the development of the cinematic process . Stanislavski sought " gestureless " moments , for example , in which the actor was totally concentrated ; Pudovkin claimed this ...
Page 15
... felt when you had an ulcerated tooth , or when you couldn't do something you wanted to do , or go somewhere you wanted to go . Your imagination must put you right into the mind of that bereaved [ character ] . It is her grief you must ...
... felt when you had an ulcerated tooth , or when you couldn't do something you wanted to do , or go somewhere you wanted to go . Your imagination must put you right into the mind of that bereaved [ character ] . It is her grief you must ...
Page 65
... felt that emotional memory and personal substitution of experiences were totally unnecessary for the actor . She stressed imagination as the key to acting ; all the rest was a " waste of time . " As for her perception of Lee Strasberg ...
... felt that emotional memory and personal substitution of experiences were totally unnecessary for the actor . She stressed imagination as the key to acting ; all the rest was a " waste of time . " As for her perception of Lee Strasberg ...
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