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Altho amusement appear Art of Acting artificial love-scene Artist audi Author bad actor better guess breathing bus horse character cism classification of Stage Columbia University Commercial Manager concerted influence course delight Directions dividual Drama Dramatic Museum Eckermann effect Ellen Terry existence eyes Farce feeling and living footlights George Arliss give Goethe going to say H. C. Fleeming Jenkin hand-bag Henry Irving Histories of Behavior hundred imagine insight and experience INTRODUCTION BY George Jefferson lay members least less Life-Simulation lover matter MCMXV Melodrama merely methods Moliere mouth Museum of Columbia Music necessary never Othello paint Palmy Day paper peculiarities perfectly hopeless personality possible produce read a Play realization Record Rip Van Winkle roles scene shockt simulated Song sort speak spectators speech stifled supposed talk theater is run thought thousand influences thru tion tongue's very end tragedy unnatural utmost voice William Gillette
Page 57 - hesitating as if for want of words to frame the reply." Henry Irving, in an address on the 'Art of Acting,' delivered at Harvard University in 1885, is in accord with Jefferson: "It is necessary that the actor should learn to think "before he speaks; a practise which, I believe, Is very useful
Page 47 - It is not the thing at all to consider a single magnificent performance such as Salvini's Othello, but to discover the Highest Art we must inquire how many kinds of things the man can do. This, you will observe, brings it down to a question of pure stage gymnastics. Watch the actor who can balance the largest number of
Page 56 - :—"I knew then that I had been unconsciously falling into the same error, and I felt that the fault would increase rather than diminish with the time, if I could not hit upon some method to check it. I began by listening to each important question as tho it had
Page 47 - but for Othello it was not all that could be desired. And Henry Irving and Ellen Terry and Modjeska, Janauschek and Joseph Jefferson and Mary Anderson, each and every one of them with marvelous skill transferred their Personalities to the appropriate
Page 40 - mind already; and (apparently) to search for and find the words by which to express those thoughts, even tho these words are at his tongue's very end. That's the terrible thing—at his tongue's very end ! Living and breathing creatures do not carry their words in that part of their systems; they have to find them and send them there—with more or less rapidity according to their facility in
Page 56 - depth of feeling and sincerity that would .naturally come from an honest man who had been for the first time in his life accused of theft. [But now] you speak it like one who Ħhas committed a great many thefts in his life Ħand whose glib excuses are so pat and
Page 56 - was a surprise in your face as tho you only then realized what you had done. You looked shockt and bewildered, and in a forlorn way seemed to cast about for words that ' would excuse the crime; and all this with a
Page 47 - personality brought him almost adoration in his Hamlet—selections from it served him well in lago, Richelieu, and one or two other
Page 29 - strecht upon a framework of Drama, are not Drama; for that framework so decorated and encumbered can never be brought to a semblance or a simulation of life.