Directors on Directing: A Source Book of the Modern Theater, Volume 10Toby Cole, Helen Krich Chinoy |
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Page 111
... emotions ? I do not even know to what university I should turn to learn about the inner logic and sequence of the emotions . How to understand them ? How to record them ? I say this is not necessary . The business of an actor is to act ...
... emotions ? I do not even know to what university I should turn to learn about the inner logic and sequence of the emotions . How to understand them ? How to record them ? I say this is not necessary . The business of an actor is to act ...
Page 236
... emotions . To follow him in all this is completely to change the function of the theater . Let that be understood . Our demonstrator is not , so to speak , against all the emotions that produce his own performance , but he does not ...
... emotions . To follow him in all this is completely to change the function of the theater . Let that be understood . Our demonstrator is not , so to speak , against all the emotions that produce his own performance , but he does not ...
Page 239
... emotions like the driver's arise - or one in which comparisons of voices ( as to cadence etc. ) are made . To keep within the bounds set by the model , the theater has only to be con- stantly developing the technique by which the emotions ...
... emotions like the driver's arise - or one in which comparisons of voices ( as to cadence etc. ) are made . To keep within the bounds set by the model , the theater has only to be con- stantly developing the technique by which the emotions ...
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