Directors on Directing: A Source Book of the Modern TheaterToby Cole, Helen Krich Chinoy |
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Page 110
... actor . " There is a difference . The director might make a play without worrying about the actor . He can get the actor full - fledged . However , one must first create an actor's company - the plays and the theater will follow as a ...
... actor . " There is a difference . The director might make a play without worrying about the actor . He can get the actor full - fledged . However , one must first create an actor's company - the plays and the theater will follow as a ...
Page 123
... actor of our theater and the actor of the old theater . The actor of the old theater acts either emotion : love , jealousy , hatred , joy , etc .; or words , underlining them , stressing each significant one ; or a situa- tion ...
... actor of our theater and the actor of the old theater . The actor of the old theater acts either emotion : love , jealousy , hatred , joy , etc .; or words , underlining them , stressing each significant one ; or a situa- tion ...
Page 170
... actor then read some poetry by Maeterlinck , fragments from those of his plays which had scenes simi- lar in mood to La Mort de Tintagiles . This was done so as not to make the play into an exercise . Each actor in turn read some verses ...
... actor then read some poetry by Maeterlinck , fragments from those of his plays which had scenes simi- lar in mood to La Mort de Tintagiles . This was done so as not to make the play into an exercise . Each actor in turn read some verses ...
Contents
George II Duke of SaxeMeiningen | 81 |
Otto Brahm | 103 |
Vladimir NemirovichDanchenko | 119 |
Copyright | |
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Common terms and phrases
acting action actor Antoine artistic atmosphere audience become begins Blanche Brecht character Chekhov classics color Copeau costumes create creative demonstration direction director door dramatic dramatist Dreissiger Duke of Saxe-Meiningen effect emotions Epic Theater everything experience expression feel Frankie gestures give Harold Clurman Hippolytus human idea imagination inner interpretation Jean Vilar Jean-Louis Barrault Joan Kattrin Kostilyoff light lines live look Luka MAYOR means method Meyerhold mise en scène Molière mood Moscow Art Theater move movement naturalistic nature never Nikolai Okhlopkov Oenone orchestra painted peasant Pepel performance Phaedra play PLAYGOER playwright production realistic realize régisseur rehearsals Reinhardt rhythm role scene scenery scenic script Shakespeare speak spectator stage STAGE-DIRECTOR stand Stanislavsky Stanley Stella style super-objective theatrical thing tion tradition truth Tyrone Guthrie VAKHTANGOV Vassilisa voice Vsevolod Meyerhold whole words