American Film Acting: The Stanislavski Heritage |
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Page 13
... walks . 40 Barrymore simply refused to accept an inner approach to acting : “ The better the actor , the more completely is he able to eliminate the personal equation . 9941 That very problem of “ personal equation " in acting , dating ...
... walks . 40 Barrymore simply refused to accept an inner approach to acting : “ The better the actor , the more completely is he able to eliminate the personal equation . 9941 That very problem of “ personal equation " in acting , dating ...
Page 15
... walk before the camera , goading yourself into simulation of grief by remembering how you 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 ...
... walk before the camera , goading yourself into simulation of grief by remembering how you 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 ...
Page 63
... walk on stage to get ? What do you want ? " I always asked that of my actors ; what they're in the scene to obtain ; to achieve .... Another thing in the Stanislavski system that I always stress a lot when I direct the actors is what ...
... walk on stage to get ? What do you want ? " I always asked that of my actors ; what they're in the scene to obtain ; to achieve .... Another thing in the Stanislavski system that I always stress a lot when I direct the actors is what ...
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