Directors on Directing: A Source Book of the Modern Theater, Volume 10Toby Cole, Helen Krich Chinoy |
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Page 42
... rhythm . " By his mastery this artist " would restore the art of the theater to its home by means of his own ... rhythmic incantation . Craig said : " The theater was for the people , and always for the people . The poets would make ...
... rhythm . " By his mastery this artist " would restore the art of the theater to its home by means of his own ... rhythmic incantation . Craig said : " The theater was for the people , and always for the people . The poets would make ...
Page 168
... rhythm of his language . This rhythm was felt by the actors of the Art Theater during the rehearsals of the first Chekhov play , was felt because of their love for Chekhov . The Moscow Art Theater would never have attained its second ...
... rhythm of his language . This rhythm was felt by the actors of the Art Theater during the rehearsals of the first Chekhov play , was felt because of their love for Chekhov . The Moscow Art Theater would never have attained its second ...
Page 251
... rhythm . The pauses , although I am not conscious of it , are expressing an instinctive need to pause , not merely to breathe , but for clarity and various other interpretative purposes . This is even more pronounced in the performance ...
... rhythm . The pauses , although I am not conscious of it , are expressing an instinctive need to pause , not merely to breathe , but for clarity and various other interpretative purposes . This is even more pronounced in the performance ...
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