Directors on Directing: A Source Book of the Modern TheaterToby Cole, Helen Krich Chinoy |
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Page 143
... play has been different : the actor of necessity comes first , since without him there is no play ; and if the director occasionally feels that he has to borrow some of the trappings of opera , he does so prudently and without losing ...
... play has been different : the actor of necessity comes first , since without him there is no play ; and if the director occasionally feels that he has to borrow some of the trappings of opera , he does so prudently and without losing ...
Page 200
... play than help the whole . For an isolated performance , of however great interest - if the rest of the acting is sagging , vague , helpless , unattached , or perversely at cross purposes - must distort the play's purpose . No matter if ...
... play than help the whole . For an isolated performance , of however great interest - if the rest of the acting is sagging , vague , helpless , unattached , or perversely at cross purposes - must distort the play's purpose . No matter if ...
Page 273
... play in the theater is something radically different from a play on the page . The dramatist expresses himself mainly through words , the director through action which involves people amid the paraphernalia of the stage . The theater is ...
... play in the theater is something radically different from a play on the page . The dramatist expresses himself mainly through words , the director through action which involves people amid the paraphernalia of the stage . The theater is ...
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