American Film Acting: The Stanislavski Heritage |
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Page 16
... telling and how he is trying to tell it . We find the big situations and the action that preceded them . More important , we locate the " why " of it . 57 In essence , she was defining the superobjective of the writer , the given ...
... telling and how he is trying to tell it . We find the big situations and the action that preceded them . More important , we locate the " why " of it . 57 In essence , she was defining the superobjective of the writer , the given ...
Page 17
... tell you of my admiration of your genius . In that picture [ The Wind ] , the power and expressiveness of your betrayal begat real tragedy . A combination of the greatest sincerity , brilliance and unvarying charm places you in the ...
... tell you of my admiration of your genius . In that picture [ The Wind ] , the power and expressiveness of your betrayal begat real tragedy . A combination of the greatest sincerity , brilliance and unvarying charm places you in the ...
Page 60
... telling effect on the use of the Method on stage . In the fifties , the off - Broadway theatre movement was popularized , and low - budget experimental works were mounted . The experimental vogue was more fully realized a decade later ...
... telling effect on the use of the Method on stage . In the fifties , the off - Broadway theatre movement was popularized , and low - budget experimental works were mounted . The experimental vogue was more fully realized a decade later ...
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