Directors on Directing: A Source Book of the Modern TheaterToby Cole, Helen Krich Chinoy |
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Page 235
... demonstration on a street cor- ner as the basic pattern of great theater , the theater of a scientific age ? If the ... demonstration on the street corner in order to be great theater , and that , conversely , it could not be called Epic ...
... demonstration on a street cor- ner as the basic pattern of great theater , the theater of a scientific age ? If the ... demonstration on the street corner in order to be great theater , and that , conversely , it could not be called Epic ...
Page 236
... demonstration and pretends to be the real incident . The fact that the acting has been rehearsed is quite apparent . So is the fact that the text has been learnt by heart . So is the stage apparatus , the whole preparation . What then ...
... demonstration and pretends to be the real incident . The fact that the acting has been rehearsed is quite apparent . So is the fact that the text has been learnt by heart . So is the stage apparatus , the whole preparation . What then ...
Page 241
... demonstration , he really stepped off on the left ( or right ) foot and as to what the victim did , the demonstration can be so changed that the A - effect comes about . In that the demonstrator now watches his movements carefully , and ...
... demonstration , he really stepped off on the left ( or right ) foot and as to what the victim did , the demonstration can be so changed that the A - effect comes about . In that the demonstrator now watches his movements carefully , and ...
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