The Book of Play Production for Little Theaters, Schools and CollegesD. Appleton, 1926 - 253 páginas |
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Página 2
... hand , a good play may be entirely ruined by a poor performance . A good musical score may be badly played , and a poor score may be well played . But good music and good plays are created only by the combination of skillful writing and ...
... hand , a good play may be entirely ruined by a poor performance . A good musical score may be badly played , and a poor score may be well played . But good music and good plays are created only by the combination of skillful writing and ...
Página 3
... hand , they often lose the spontaneity that gives value to the work of the nonprofessional . Moreover , in the practice of dramatic art , amateurs often have the advantage of being more independent of financial success ; hence , they ...
... hand , they often lose the spontaneity that gives value to the work of the nonprofessional . Moreover , in the practice of dramatic art , amateurs often have the advantage of being more independent of financial success ; hence , they ...
Página 25
... hand , in certain plays a peculiar ability may be necessary in a certain rôle , making it inadvisable to try the play unless there is an actor who is obviously suited for that rôle . It would be unwise to choose " Henry IV , " for ...
... hand , in certain plays a peculiar ability may be necessary in a certain rôle , making it inadvisable to try the play unless there is an actor who is obviously suited for that rôle . It would be unwise to choose " Henry IV , " for ...
Página 26
... and other specific facts . A play must be chosen that can be set and costumed with the facilities at hand . A simpler production , well He done , which gives the staff courage and experience 26 THE BOOK OF PLAY PRODUCTION.
... and other specific facts . A play must be chosen that can be set and costumed with the facilities at hand . A simpler production , well He done , which gives the staff courage and experience 26 THE BOOK OF PLAY PRODUCTION.
Página 44
... hands and faces , and of speaking each line . They must try to feel what the characters they are assuming would do in the situations in which they find themselves in the play , and they must by ob- servation and study check up the ...
... hands and faces , and of speaking each line . They must try to feel what the characters they are assuming would do in the situations in which they find themselves in the play , and they must by ob- servation and study check up the ...
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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.