The Theatre Handbook and Digest of PlaysBernard Sobel |
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Page 220
... whole - the kind of experience it embodies and conveys - how it should move what problems it sets for us , actor and director - how it differs from other plays in feeling - in mood - in rhythm . Then we put the play aside for awhile ...
... whole - the kind of experience it embodies and conveys - how it should move what problems it sets for us , actor and director - how it differs from other plays in feeling - in mood - in rhythm . Then we put the play aside for awhile ...
Page 364
... whole acts of dialogue , and even plot . By the Elizabethan period , when plays were planned and written , the common practice of extemporizing often imperiled successful production — even though stage directions often called for actors ...
... whole acts of dialogue , and even plot . By the Elizabethan period , when plays were planned and written , the common practice of extemporizing often imperiled successful production — even though stage directions often called for actors ...
Page 580
... whole idea not only of the character but of the play . The playwright unless he is so famous and successful as to have the powers of a dictator , is always at the mercy of the producer , actor , director , even at times of weather bad ...
... whole idea not only of the character but of the play . The playwright unless he is so famous and successful as to have the powers of a dictator , is always at the mercy of the producer , actor , director , even at times of weather bad ...
Contents
Preface George Freedley | ix |
Actress Tallulah Bankhead | 33 |
Community Theatre Movement The Carl Glick | 169 |
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