The Book of Play Production for Little Theaters, Schools and CollegesD. Appleton, 1926 - 253 páginas |
Dentro del libro
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Página xvi
... Covering 32. Method of Tacking the Cloth 33. Method of Gluing the Cloth 34. Preparing the Glue 35. Method of Spattering . • • • 113 115 119 121 123 · 124 124 125 126 126 127 · 127 128 128 132 . facing 132 • 134 135 136 • 138 141 142 36 ...
... Covering 32. Method of Tacking the Cloth 33. Method of Gluing the Cloth 34. Preparing the Glue 35. Method of Spattering . • • • 113 115 119 121 123 · 124 124 125 126 126 127 · 127 128 128 132 . facing 132 • 134 135 136 • 138 141 142 36 ...
Página 55
... covered by the proper performance of the play as a whole . And as the conductor of an orchestra cannot stop to teach an individual musician how to play a single note at this stage of the practice , so the director of a play must not ...
... covered by the proper performance of the play as a whole . And as the conductor of an orchestra cannot stop to teach an individual musician how to play a single note at this stage of the practice , so the director of a play must not ...
Página 62
... covered with some material that will deaden re- flection . " Hair felt " is the material that has the great- est effect.1 In theaters where the acoustics are bad , the actors must pay greater attention to their enunciation and the ...
... covered with some material that will deaden re- flection . " Hair felt " is the material that has the great- est effect.1 In theaters where the acoustics are bad , the actors must pay greater attention to their enunciation and the ...
Página 65
... covered with beaver board or some similar substance . It is still better to have it plastered , or finished in the same way as the auditorium itself . The color should be subdued and harmonious , and if it is desired to outline the ...
... covered with beaver board or some similar substance . It is still better to have it plastered , or finished in the same way as the auditorium itself . The color should be subdued and harmonious , and if it is desired to outline the ...
Página 68
... covered frames , or of draperies . I. To build a temporary proscenium of frames.— A temporary wall of frames should cut off the stage end of the room , by extending from wall to wall , and from floor to ceiling . In its simplest form it ...
... covered frames , or of draperies . I. To build a temporary proscenium of frames.— A temporary wall of frames should cut off the stage end of the room , by extending from wall to wall , and from floor to ceiling . In its simplest form it ...
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The Book of Play Production for Little Theaters Schools and Colleges Milton Smith Sin vista previa disponible - 2015 |
Términos y frases comunes
acting actors artist audience auditorium batten better blue Brander Matthews canvas cast ceiling central staging CHAPTER character cloth color wheel complementary colors conception corner Costume Design costume plate crêpe curtain cyclorama device director door dramatic art dramatic club draperies drop edge effect Elizabethan face fastened feet fireplace flats floor footlights front gelatine give glue gray grease paint Horace Mann School idea important inches interesting lash cleat light lines Little Theater make-up material method miter box modern Molière movement necessary nonprofessional One-Act Plays orange organization painted scenery performance plastic pieces platform play production possible produce professional prompter proper proscenium arch pulley rehearsals scene secured side sometimes sort spot stage design stage lighting stage manager stagecraft step suggest surface tacked theatrical things tion tumes usually wall William Gillette window frames wire wise York
Pasajes populares
Página 55 - Lord help me, any man, that is, any good man, that had such a mother, would have done exactly the same. I know you are only joking with me; but indeed, madam, though I was never at a play in London, yet I have seen acting before in the country; and the king for my money; he speaks all his words distinctly, half as loud again as the other. — Anybody may see he is an actor.
Página 55 - And then, to be sure, in that scene, as you called it, between him and his mother, where you told me he acted so fine, why, Lord help me, any man, that is, any good man, that had such a mother, would have done exactly the same. I know you are only joking with me ; but indeed, madam, though I was never...
Página 97 - You ask about the colours? What are the colours that Shakespeare has indicated for us? Do not first look at Nature, but look in the play of the poet. Two; one for the rock, the man; one for the mist, the spirit. Now, quickly, take and accept this statement from me. Touch not a single other colour, but only these two colours through your whole progress of designing your scene and your costumes, yet forget not that each colour contains many variations.
Página 97 - ... interiors" as they are called. But, bless your heart, don't bother about that! Call to mind that the interior of a castle is made from the stuff which is taken from the quarries. Is it not precisely the same colour to begin with? and do not the blows of the axes which hew out the great stones give a texture to each stone which resembles the texture given it by natural means, as rain, lightning, frost? So you will not have to change your mind or change your impression as you proceed. You will...
Página 105 - Some places speak distinctly. Certain dank gardens cry aloud for a murder; certain old houses demand to be haunted; certain coasts are set apart for shipwreck. Other spots again seem to abide their destiny, suggestive and impenetrable, 'miching mallecho.
Página 97 - I know you are yet not quite comfortable in your mind about this rock and this mist ; I know that you have got in the back of your head the recollection that a little later on in the play come several " interiors " as. they are called. But, bless your heart, don't bother about that ! Call to mind that the interior of a castle is made from the stuff which is taken from the quarries. Is it not precisely the same colour to begin with ? and do not the blows of the axes which hew out the great stones...
Página 95 - I see two things. I see a lofty and steep rock, and I see the moist cloud which envelops the head of this rock. That is to say, a place for fierce and warlike men to inhabit, a place for phantoms to nest in.
Página 54 - He the best player!" cries Partridge, with a contemptuous sneer, "why, I could act as well as he myself. I am sure, if I had seen a ghost, I should have looked in the very same manner, and done just as he did. And then, to be sure, in that scene, as you...
Página 97 - ... give a texture to each stone which resembles the texture given it by natural means, as rain, lightning, frost? So you will not have to change your mind or change your impression as you proceed. You will have but to give variations of the same theme, the rock - the brown; the mist the grey; and by these means you will, wonder of wonders, actually have preserved unity. Your success will depend upon your capacity to make variations upon these two themes; but remember never to let go of the main...
Página 48 - His tears are real, his laughter real, as real to himself as to his audience. Frequently, they are more real to himself than to his listeners ; for the capacity of feeling, and the faculty of expressing the sensation experienced, are widely different. The current upon which the actor is borne away may, or may not, be strong enough to bear the spectator upon its bosom.