Choosing a Play, Revised and Enlarged: Suggestions and Bibliography for the Director of Amateur DramaticsWilson Company, 1920 - 175 trang |
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actor Alice Gerstenberg amateur amusement artistic assistance audience Boston Brentano Brighouse cast CHAPTER Chicago Christmas civic clubs coach coöperate Costume desirable direction director Drama League dramatic activity dramatic department Dramatic Instinct dramatic production E. E. Hs E. H. SOTHERN E. P. Dutton educational institutions emotional faculty GEORGE HENRY LEWIS gesture give given grades Henry Holt Historical Pageant Illus importance interest Journal Lady Gregory leisure lists Luce & Co MacKaye Macmillan Magazine Masque material matic matter means ment MINNIE MADDERN FISKE moral munity musical comedy One-Act Plays pageantry possible present problems producing elements pupils rehearsal RICHARD MANSFIELD royalty scenery Scribner Shay Short Plays situation Social Theater stage suggestion syndicate taste teachers theater Theater Arts theatrical theatrical syndicate things tion town vital voice York City
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Trang 89 - Well done to-night! Well done!' And he is glad. "And the intense suffering he may feel in the earlier performances becomes a matter of memory. He remembers the method, the symbols, by which at first he gave it expression. He remembers the means, and relying on that memory, need not himself feel so keenly. The greater the artist, the less keenly need he feel. The actor with no science must keep lashing his own emotions to get the effect a master technician would know how to express with his thoughts...
Trang 77 - The real pageant is given out of doors, its spectators number thousands, genuine distance gives beauty to the production, the stage is as vast as the eye can reach, and the production aims to reproduce actuality rather than illusion. The giving of a pageant is an act of veneration or of patriotism. At present it is done to honor town or hero, and becomes a great civic rite.
Trang 51 - It must not be thought that because the Oneact play deals with but one crisis or situation, it is weak and inconsequential ; on the contrary, since only one event or situation can be emphasized, it follows that the writer is obliged to choose the one determining crisis which makes or mars the supreme struggle of a soul, the one great change or turning-point or end of a life-history.
Trang 174 - John M. An outline of social study for elementary schools. American journal of sociology, 19: 491-509, January 1914. 48. Guild. Thacher H. Suggestions for the high-school play. English journal, 2: 637-46, December 1913. Reprinted from the April Bulletin of the Illinois association of teachers of English. Gives a list of some plays which have proved successful at the University of Illinois and the local schools. 49. Kurtz-worth, HM The school publication as a factor in art education.
Trang 93 - After the management of the voice, actors most err in the management of the body : they mouth their sentences, and emphasize their gestures, in the effort to be effective, and in ignorance of the psychological conditions on which effects depend. In each case the effort to aggrandize natural expression leads to exaggeration and want of truth. In attempting the ideal they pass into the artificial. The tones and gestures of ordinary unimpassioned moments would not, they feel, be appropriate to ideal...
Trang 20 - ... evening — those things that come to us with a whiff of the balsam pine or the break of the sea on the beach, or the touch of a soft hand or the discovery of a withered flower. It is in us always and it will crop out in the most hardened of us, and where we should always see it, and where it should forever awaken all that was born good and beautiful in us, is upon the stage.
Trang 88 - Consider your voice; first, last, and always your voice. It is the beginning and the end of acting. Train that till it responds to your thought and purpose with absolute precision. Go at once ... to some master of the voice, and, if need be, spend a whole year with him studying the art of speech. Learn it now, and practice it all your days in the theatre.
Trang 72 - Now in organized leisure, certain significant facts are to be noted: First, our leisure where organized for amusement, recognizes art but debases It for private profit. This is true of our commercial theatres, vaudeville houses, moving picture shows, dance halls, etc. Secondly, our leisure, where organized for "education" or "religion," ignores art entirely, while seeking to uplift the public without it.
Trang 74 - ... once established that art is a vital factor in the joy of living, the forms will come unsought. It is not only as a preserver of the rich traditions of the past, in which function pageantry has all the educative and social value it needs, but it is also a means whereby it may once more be learned that art brings pleasure into life exactly in proportion as the people are sharers in the processes of its creation. Athletic games are almost the only recreation left in which great numbers of people...
Trang 73 - Crude though it often be, then, pageantry satisfies an elemental instinct for art, a popular demand for poetry. This instinct and this demand , like other human instincts and demands, are capable of being educated, refined, developed into a mighty agency of civilization. Refinement of this deep popular instinct will result from a rational selection and correlation of the elements of pageantry.