Directors on Directing: A Source Book of the Modern TheaterToby Cole, Helen Krich Chinoy |
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Page 82
... stand dead center directly in front of the prompter , but always slightly to the left or right of his box . The middle foreground of the stage , about the width of the prompter's box , from the footlights to the background , should be ...
... stand dead center directly in front of the prompter , but always slightly to the left or right of his box . The middle foreground of the stage , about the width of the prompter's box , from the footlights to the background , should be ...
Page 86
... stand with both feet on the same step . He should , if there is a stone close by , stand with one foot on it . Should he be walking down stairs and for some reason - such as having to speak a line or notice some object - be obliged to ...
... stand with both feet on the same step . He should , if there is a stone close by , stand with one foot on it . Should he be walking down stairs and for some reason - such as having to speak a line or notice some object - be obliged to ...
Page 88
... standing near each other is , wherever possible , to be shunned . When it can be done , individuals should stand on different levels . Some can kneel , some stand near by , some bending , some upright . It is effective to have those ...
... standing near each other is , wherever possible , to be shunned . When it can be done , individuals should stand on different levels . Some can kneel , some stand near by , some bending , some upright . It is effective to have those ...
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