Directors on Directing: A Source Book of the Modern TheaterToby Cole, Helen Krich Chinoy |
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Page 107
... gestures and resounding voice , they were not acting in the Greek style , as they thought , but in the style of their time - only at that time the Weimar style prevailed , and today's theater calls for the realistic style . But ...
... gestures and resounding voice , they were not acting in the Greek style , as they thought , but in the style of their time - only at that time the Weimar style prevailed , and today's theater calls for the realistic style . But ...
Page 176
... gestures are not new . Salvini in Othello or Hamlet always used plastic movements . True , this was also plastic art , but I am not talking about that kind of plasticity . Salvini's gestures closely cor- responded to the words and their ...
... gestures are not new . Salvini in Othello or Hamlet always used plastic movements . True , this was also plastic art , but I am not talking about that kind of plasticity . Salvini's gestures closely cor- responded to the words and their ...
Page 337
... gestures - though of course , he cannot substitute these gestures for real fear . Fear must show through the ceremony in this scene . TO ACT OLD AGE During a tour , a very young actress had the opportunity to play the peasant woman of ...
... gestures - though of course , he cannot substitute these gestures for real fear . Fear must show through the ceremony in this scene . TO ACT OLD AGE During a tour , a very young actress had the opportunity to play the peasant woman of ...
Contents
George II Duke of SaxeMeiningen | 81 |
Otto Brahm | 103 |
Vladimir NemirovichDanchenko | 119 |
Copyright | |
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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