The Book of Play Production for Little Theaters, Schools and CollegesD. Appleton, 1926 - 253 páginas |
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Página 64
... inches , is a better elevation for the stage . The proscenium - arch opening should be at least nine feet in height , other- wise the actors look cramped and out of proportion . Twelve feet , or more , is a still better height for the ...
... inches , is a better elevation for the stage . The proscenium - arch opening should be at least nine feet in height , other- wise the actors look cramped and out of proportion . Twelve feet , or more , is a still better height for the ...
Página 67
... not be more than eighteen inches apart . As many sections can be made and fastened together as are necessary to make a stage of the desired size . and take down easily . The short crossbeams support- ing 67 ON PRODUCING WITH A THEATER.
... not be more than eighteen inches apart . As many sections can be made and fastened together as are necessary to make a stage of the desired size . and take down easily . The short crossbeams support- ing 67 ON PRODUCING WITH A THEATER.
Página 68
... inches apart , at the very most . The cross braces may be fastened to the short upright beams that hold the sections with bolts and winged nuts , and the sections may be fastened to the frame and to each other in the same manner . A ...
... inches apart , at the very most . The cross braces may be fastened to the short upright beams that hold the sections with bolts and winged nuts , and the sections may be fastened to the frame and to each other in the same manner . A ...
Página 73
... inch or two behind the proscenium curtains , and six or seven inches above the bottom of the top curtain makes the best support for the opening curtain . It , too , may be made rigid by the use of turnbuckles . The entire proscenium ...
... inch or two behind the proscenium curtains , and six or seven inches above the bottom of the top curtain makes the best support for the opening curtain . It , too , may be made rigid by the use of turnbuckles . The entire proscenium ...
Página 74
... pulleys . On one small stage , the deed was done with little wooden spools . The rings or pulleys should be placed on the curtains so that they come about six or eight inches apart ; therefore the 74 THE BOOK OF PLAY PRODUCTION.
... pulleys . On one small stage , the deed was done with little wooden spools . The rings or pulleys should be placed on the curtains so that they come about six or eight inches apart ; therefore the 74 THE BOOK OF PLAY PRODUCTION.
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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.