Directors on Directing: A Source Book of the Modern Theater, Volume 10Toby Cole, Helen Krich Chinoy |
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Page 81
... effect , it is important to keep the middle of the picture from being congruent with the middle of the stage . If one follows the geometric principle of the golden mean , the stage divides into two even parts , which is likely to lead ...
... effect , it is important to keep the middle of the picture from being congruent with the middle of the stage . If one follows the geometric principle of the golden mean , the stage divides into two even parts , which is likely to lead ...
Page 240
... effect is to make of the spectator an active critic of society . Can we show that this A - effect has meaning for our demonstrator on the street corner ? We can imagine what happens if he has failed to bring off the A - effect . The ...
... effect is to make of the spectator an active critic of society . Can we show that this A - effect has meaning for our demonstrator on the street corner ? We can imagine what happens if he has failed to bring off the A - effect . The ...
Page 241
... effect comes about . In that the demonstrator now watches his movements carefully , and executes them carefully , probably at a slower rate , he brings off the A - effect , that is he " alienates " this part of the action , brings it ...
... effect comes about . In that the demonstrator now watches his movements carefully , and executes them carefully , probably at a slower rate , he brings off the A - effect , that is he " alienates " this part of the action , brings it ...
Contents
Helen Krich Chinoy | 3 |
George II Duke of SaxeMeiningen | 81 |
André Antoine | 89 |
Copyright | |
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acting action actor Antoine artistic atmosphere audience become begins Blanche Brecht character Chekhov classics Clurman color contemporary Copeau costumes Craig create creative demonstration direction director door dramatic dramatist Dreissiger Duke of Saxe-Meiningen effect emotions Epic Theater everything experience expression fantastic realism feel Frankie gestures give Harold Clurman Hippolytus idea imagination interpretation Jacques Copeau Joan Kattrin Kostilyoff light lines living look Luka MAYOR means method Meyerhold mise en scène modern theater Molière 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 art thing tion truth Tyrone Guthrie VAKHTANGOV Vassilisa voice Vsevolod Meyerhold whole words