Theatre Arts, Volume 7Sheldon Cheney, Edith Juliet Rich Isaacs Theatre Arts, Incorporated, 1923 |
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acting actors ADOLPH BOLM Advertisers please mention amateur American APPLEBY Arthur Hopkins artist audience auditorium Avenue balcony Ballet Barrymore beautiful Boston Broadway character Chicago circus color comedy costumes curtain designs director drama Equity Players expressionist Gideon give Hamlet idea JACK VINNEY JENNIE Kamerny Theatre Kenneth Macgowan King laboratory Lee Simonson light little theatre look LURA MacKaye Maddermarket Theatre Max Reinhardt mention the Theatre MILES modern Morris Gest Moscow Art Theatre never Norman-Bel Geddes one-act orchestra Peer Gynt performance Photo by Francis picture play playhouse playwright production proscenium puppet putty Ray Comstock realism repertory Robert Edmond Jones Roger Bloomer ROSE Russian satire scene season setting Shakespeare soul Spectatorium spirit stage Stanislavsky Stark Young Steele MacKaye Steinway Street Studio TEACHER Theatre Arts Magazine Theatre Guild theatrical thing tion TURKISH KNIGHT writing to Advertisers York City
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Página 250 - ... has no reason to believe that any other person, association, or corporation has any interest direct or Indirect in the said stock, bonds, or other securities than as so stated by him.
Página 83 - Whether mental performance alone may not eventually be the fate of all drama other than that of contemporary or frivolous life, is a kindred question not without interest. The mind naturally flies to the triumphs of the Hellenic and Elizabethan theatre in exhibiting scenes laid "far in the Unapparent," and asks why they should not be repeated.
Página 79 - That the owners are: (Give names and addresses of individual owners, or, if a corporation, give its name and the names and addresses of stockholders owning or holding 1 per cent or more of the total amount of stock.) None.
Página 169 - In the dramas of human art, the poet provides the words but the actors add their own quality, good or bad — for they have more to do than merely repeat the author's words — in the truer drama which dramatic genius imitates in its degree, the Soul displays itself in a part assigned by the creator of the piece. As the actors of our stages get their masks and their costume, robes of state or rags, so a Soul is allotted its fortunes, and not at haphazard but always under a Reason : it adapts itself...
Página 83 - In respect of such plays of poesy and dream a practicable compromise may conceivably result, taking the shape of a monot'onic delivery of speeches, with dreamy conventional gestures, something in the manner traditionally maintained by the old Christmas mummers, the curiously hypnotizing impressiveness of whose automatic style — that of persons who spoke by no will of their own — may be remembered by all who ever experienced it.
Página 281 - In a creative theatre the object for the actor's concentration is the human soul. In the first period of his work— the searching —the object for concentration is his own soul and those of the men and women who surround him. In the second period— the constructive one— only his own soul. Which means that, to act, you must know how to concentrate on something materially imperceptible— on something which you can perceive only by entering deeply into your own entity. ... In other words you need...
Página 83 - Elizabethan theatre in exhibiting scenes laid " far in the Unapparent," and asks why they should not be repeated. But the meditative world is older, more invidious, more nervous, more quizzical, than it once was, and being unhappily perplexed...
Página 33 - In order to make the public listen to the fine shades of your feelings, you have to live them through yourself intensely. To live through definite intelligible feelings is easier than to live through the subtle soul vibrations of a poetic nature. To reach those experiences it is necessary to dig deep into the material which is handed to you for creation. To the study of the play we shall devote jointly a great deal of work and attention and love.