Problems of the Actor: With an Introd by Clayton Hamilton

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Pickle Partners Publishing, 12 thg 12, 2018 - 133 trang
I HAVE been on the stage for more than forty years. My profession and its problems have been the principal interest in my life. It is natural that such an extended association with the theater should yield certain technical theories on my art; and, since I am nearing sixty, it is natural that I should want to talk about them. I do not regard any opinion I hold on the subject of acting as infallible; I learn something new about my profession every day; but there is one claim I make for the opinions I state in this book: they are not hasty. They have been two score years in taking shape.

I have watched many young people start their careers on the stage; I have seen some of them rise to success, and others sink to oblivion. It has seemed to me that the difficulties each met, and the mistakes each was likely to make were, in a general way, always of the same character. They were the difficulties and mistakes which all actors encounter.

There is no lack of books dealing with the lives of those in the actor’s profession. But few of them shed any light on the technique by which the admired actors of the past rose to high place. They are mostly pleasant, chatty reminiscences of their personal lives, whereas it is their professional lives that are significant.

However, in this little study, I have not attempted an autobiographical account of my early struggles in the profession, nor a story of my experiences on the stage; I have rather tried to derive from my experiences some truths which might be of service to the beginning actor, to state as concretely as possible some of the simple principles which bitter experience has made me believe are sound.—Louis Calvert
 

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Contents
22
AMATEUR 59
CHAPTER XTHE EFFECT OF REALISTIC SCENERY
CHAPTER XIMUSIC AND COSTUMES VERSUS
REQUEST FROM THE PUBLISHER 92

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Giới thiệu về tác giả (2018)

LOUIS JAMES CALVERT (1859-1923) was a British stage and early film actor and manager of the late 19th and early 20th centuries. He is perhaps best remembered today for having created roles in plays by George Bernard Shaw and for appearing in King John (1899), the earliest known example of any film based on Shakespeare. Born in Manchester, Lancashire to actor parents, he was educated privately in England and Germany. He made his theatrical debut in South Africa in 1878. During the 1880s, he trained at Sarah Thorne’s School of Acting at Margate, Kent. He went on to appear with Henry Irving at the Lyceum Theatre in London and toured with Lillie Langtry in the U.S. He staged and produced an Elizabethan-style version of Richard II for the Manchester Committee of the Independent Theatre Society in 1895. This brought him to the attention of actor-manager Herbert Beerbohm Tree, who made him co-producer of his production of Henry IV, Part 1 at the Haymarket Theatre in May 1896. Numerous starring roles followed, including in Julius Caesar, Macbeth, A Midsummer Night’s Dream, Much Ado About Nothing, and The Life and Death of King John. Calvert frequently toured the U.S., and in 1909 he was appointed as the actor-manager of the New Theatre in New York. He directed and starred in productions of English plays, particularly the works of William Shakespeare with a company of British and American actors. Calvert died in New York City in 1923. CLAYTON MEEKER HAMILTON (1881-1946) was an American drama critic. Born in Brooklyn, New York, he graduated from the Polytechnic Institute of Brooklyn in 1900 and Columbia University (M.A.) in 1901. He lectured in drama at Columbia University in 1903 and then served as drama critic and associate editor for a number of magazines, including The Forum, The Bookman, Everybody’s Magazine and Vogue. Hamilton was a member of The National Institute of Arts. He died of a heart attack in New York in 1946.

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