Directors on Directing: A Source Book of the Modern Theater, Volume 10Toby Cole, Helen Krich Chinoy |
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Page 84
... costume even before the dress rehearsal , which only differs from the opening night by the exclusion of the public . He should wear either his own costume , or if it is not yet ready , or has to be saved , one distinctly similar in cut ...
... costume even before the dress rehearsal , which only differs from the opening night by the exclusion of the public . He should wear either his own costume , or if it is not yet ready , or has to be saved , one distinctly similar in cut ...
Page 85
... costume the wardrobe mistress has just handed him ; one must not be reminded of a costume ball or a carnival . Carriage and gestures are influenced by changing from modern clothes to those of the past . Our perfectly familiar way of ...
... costume the wardrobe mistress has just handed him ; one must not be reminded of a costume ball or a carnival . Carriage and gestures are influenced by changing from modern clothes to those of the past . Our perfectly familiar way of ...
Page 128
... costume designer into consultation . All this is very necessary in a costume play , in order to preserve the color harmonies of my scenes . If , on the other hand , it be a modern play that I am producing , I send my actors , when the ...
... costume designer into consultation . All this is very necessary in a costume play , in order to preserve the color harmonies of my scenes . If , on the other hand , it be a modern play that I am producing , I send my actors , when the ...
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 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 Joan Kattrin Kostilyoff light lines living look Louis Jouvet 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 realism 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 truth Tyrone Guthrie VAKHTANGOV Vassilisa voice Vsevolod Meyerhold whole words