Acting with Style, Volume 10From preface: This book is aimed at helping the actor discover what kind of play he is in--to identify the stylistic clues--and then come to a physical awareness of how it should be played. |
From inside the book
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Page 74
... audi- ence and thrust the actor with it . The direct- ness of much of Shakespeare demands that the actor get down front to contact the audi- ence . He has distance to cover and must hold the audience while covering it . He has basically ...
... audi- ence and thrust the actor with it . The direct- ness of much of Shakespeare demands that the actor get down front to contact the audi- ence . He has distance to cover and must hold the audience while covering it . He has basically ...
Page 173
... audi- ence in the ribs , show it you know how funny you are . Play the ridiculous seriously - play for real . Sense of Occasion . This really brings us full circle , back to the roots we spoke of at the beginning of the chapter . For ...
... audi- ence in the ribs , show it you know how funny you are . Play the ridiculous seriously - play for real . Sense of Occasion . This really brings us full circle , back to the roots we spoke of at the beginning of the chapter . For ...
Page 191
... audi- ence a true experience of the absurd con- dition of man : the theatre of the absurd showed man as having no large purposes in life . Habit and material possessions limit his freedom ; the inadequacy of language pre- vents ...
... audi- ence a true experience of the absurd con- dition of man : the theatre of the absurd showed man as having no large purposes in life . Habit and material possessions limit his freedom ; the inadequacy of language pre- vents ...
Common terms and phrases
absurd theatre achieve acter acting action activity actor American Conservatory Theatre Artaud Artaudian theatre attitude audi audience aware Bald Soprano basic Beckett become Bertolt Brecht body Brecht century char character mask character's chorus circle clothing Coach the players comedy of manners comic commedia confrontation costume create dance demands dialectical Dionysus discover drama dynamic Elizabethan emotional ence energy epic epic theatre essential event exercise explore farce feeling focus function gesture give Greek tragedy Harpagon hieroglyph human humor images impulse intensity Ionesco language man's Marxism meaning ment Molière moral move movement nature performance physical play playwright poetic political realistic reality response reveal rhythmical rhythms ritual Royal Shakespeare Company scene sense sensibility sexual Shakespeare's simple situation slapstick social mask society space speech spine spirit stage strong structure style suggested tends theatrical tion truth verbal verse Waiting for Godot words