Problems of the ActorH. Holt, 1918 - 274 páginas |
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Página xvi
... TONE " OF A PERFORMANCE · Where the Real Charm of a Charming Play Lies -The Eleventh - hour Rescue of Kismet - Keeping One's Comedy in Key - Warfield's Rage in The Music Master - Tad Mortimer's Rebellion in The Thunderbolt - Wrong ...
... TONE " OF A PERFORMANCE · Where the Real Charm of a Charming Play Lies -The Eleventh - hour Rescue of Kismet - Keeping One's Comedy in Key - Warfield's Rage in The Music Master - Tad Mortimer's Rebellion in The Thunderbolt - Wrong ...
Página 51
... tone of the actor's voice . It is the tone of the voice , more often than any- thing else , which makes a line powerful and moving on the stage ; I am sure this has been true in my experience . Macready , by con- centrating and ...
... tone of the actor's voice . It is the tone of the voice , more often than any- thing else , which makes a line powerful and moving on the stage ; I am sure this has been true in my experience . Macready , by con- centrating and ...
Página 154
... through his own speech . If there is no laugh at the end of A's speech , as B expects there will be , the latter must guard against an awkward pause . He may begin his reply unobtrusively , in rather a low tone , 154 PROBLEMS OF THE ACTOR.
... through his own speech . If there is no laugh at the end of A's speech , as B expects there will be , the latter must guard against an awkward pause . He may begin his reply unobtrusively , in rather a low tone , 154 PROBLEMS OF THE ACTOR.
Página 155
Louis Calvert. his reply unobtrusively , in rather a low tone , and let his voice die if the laugh comes ; then when it is time to break into the laugh he can repeat what he has said . As an example of this , in Shaw's Major Barbara ...
Louis Calvert. his reply unobtrusively , in rather a low tone , and let his voice die if the laugh comes ; then when it is time to break into the laugh he can repeat what he has said . As an example of this , in Shaw's Major Barbara ...
Página 156
... tone , with “ Father Undershaft . " and then stopped if the audience laughed ; if they did not he repeated as though to give firmness and emphasis to his words , " Father Undershaft ! etc. " There are other ways of meeting such a ...
... tone , with “ Father Undershaft . " and then stopped if the audience laughed ; if they did not he repeated as though to give firmness and emphasis to his words , " Father Undershaft ! etc. " There are other ways of meeting such a ...
Outras edições - Ver tudo
Problems of the Actor: With an Introd by Clayton Hamilton Louis Calvert Pré-visualização limitada - 2018 |
Palavras e frases frequentes
able actor playing actor's art actress amateur appear art of acting audi audience Barry Sullivan beginning believe Caesar Calvert career character Charlotte Cushman clever comedy costume course craft Cusins Cyrano Cyrano de Bergerac David Warfield doubt dress rehearsal Edwin Booth effect Ellen Terry emotions ence experience express eyes feel forget gesture give Helen Faucit Henry Irving illusion imagination impression Irving Irving's Julius Caesar laugh light lines listen London Macbeth manager matter means merely methods mind natural never night once Othello painted passion performance primary producer profes profession rage realize regard Repertoire Company reply Ristori Romeo and Juliet scene scenery scenic artist seems sense Shakespeare's Shylock simple sion Sir Herbert Tree speak speech stage story striving success suggest sure technique theater thing thought tion tone tried Tumpty voice Wolsey words young actor
Passagens conhecidas
Página 69 - But more for that in low simplicity He lends out money gratis and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. He hates our sacred nation, and he rails, Even there where merchants most do congregate, On me, my bargains and my well-won thrift, Which he calls interest. Cursed be my tribe, If I forgive him ! BASS.
Página 254 - This castle hath a pleasant seat ; the air Nimbly and sweetly recommends itself Unto our gentle senses. BAN. This guest of summer, The temple-haunting martlet, does approve By his loved mansionry that the heaven's breath Smells wooingly here : no jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendent bed and procreant cradle : Where they most breed and haunt, I have observed The air is delicate.
Página 68 - I hate him for he is a Christian : But more, for that, in low simplicity, He lends out money gratis, and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him.
Página 239 - O, it is excellent To have a giant's strength ; but it is tyrannous To use it like a giant.
Página 51 - I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, : Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end, Like quills upon the fretful porcupine : But this eternal blazon must not be To ears of flesh and blood.
Página 56 - Take care of the consonants, the vowels will take care of themselves,
Página 43 - This is a baffling paradox, and one which everyone who takes up stage work seriously is likely to meet sooner or later. As a matter of fact the natural speaking voice is of little or no use on the stage, and neither is the shout. The secret of it is that a man should so train his voice that he has the range, and the pitch that is necessary, but also the technique and the control which enable him to seem to speak naturally.
Página 8 - I do not believe that any great success in any art can be achieved without it. " I say this to the beginners in my profession, and I am sure all the associates in my art, who have honored me with their presence on this occasion, will indorse what I say in this.
Página 236 - Juliet's room by such naturalistic details as a disarranged four-posted bed, or the turning of the key of a locked door at the nurse's entrance, or Romeo's lacing his jerkin, and a dishevelled Juliet in a crepe de chine nightgown. Such details are cheap illustrations and unworthy of a true artist.
Página 134 - ... felt by the actor? It seems to me that all passion must be kept under a certain control and within the pale of art. It is also evident that to maintain this control of necessity grows more difficult as the actor gains in his power to express great passion. ... In the rehearsing we may do in private, it is perhaps well to give way to uncontrolled passion to develop our power of expressing it ; but while acting, we must always remain master of our resources.