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ability able acting actor actual allowed appear artist attempt attention audience become beginning believe better called Calvert carry CHAPTER character clever comes course craft deal depend difficulty doubt effect emotions ence experience express eyes face fact failed feel follow forget gesture give given hands hard idea imagination impression interest Irving keep kind knowledge laugh less light lines listen London look manager matter means mechanical merely methods mind moving natural never night once performance person piece play possible primary producer profession reached realize regard rehearsal remember reply result scene scenic seems seen sense Shakespeare's Shylock simple speak speech stage story success suggest supposed sure technique tell theater thing thought tion tone trained tried true turn voice whole young
Page 69 - But more for that in low simplicity He lends out money gratis and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. He hates our sacred nation, and he rails, Even there where merchants most do congregate, On me, my bargains and my well-won thrift, Which he calls interest. Cursed be my tribe, If I forgive him ! BASS.
Page 254 - This castle hath a pleasant seat ; the air Nimbly and sweetly recommends itself Unto our gentle senses. BAN. This guest of summer, The temple-haunting martlet, does approve By his loved mansionry that the heaven's breath Smells wooingly here : no jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendent bed and procreant cradle : Where they most breed and haunt, I have observed The air is delicate.
Page 68 - I hate him for he is a Christian : But more, for that, in low simplicity, He lends out money gratis, and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him.
Page 239 - O, it is excellent To have a giant's strength ; but it is tyrannous To use it like a giant.
Page 51 - I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, : Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end, Like quills upon the fretful porcupine : But this eternal blazon must not be To ears of flesh and blood.
Page 56 - Take care of the consonants, the vowels will take care of themselves,
Page 43 - This is a baffling paradox, and one which everyone who takes up stage work seriously is likely to meet sooner or later. As a matter of fact the natural speaking voice is of little or no use on the stage, and neither is the shout. The secret of it is that a man should so train his voice that he has the range, and the pitch that is necessary, but also the technique and the control which enable him to seem to speak naturally.
Page 8 - I do not believe that any great success in any art can be achieved without it. " I say this to the beginners in my profession, and I am sure all the associates in my art, who have honored me with their presence on this occasion, will indorse what I say in this.
Page 236 - Juliet's room by such naturalistic details as a disarranged four-posted bed, or the turning of the key of a locked door at the nurse's entrance, or Romeo's lacing his jerkin, and a dishevelled Juliet in a crepe de chine nightgown. Such details are cheap illustrations and unworthy of a true artist.
Page 134 - ... felt by the actor? It seems to me that all passion must be kept under a certain control and within the pale of art. It is also evident that to maintain this control of necessity grows more difficult as the actor gains in his power to express great passion. ... In the rehearsing we may do in private, it is perhaps well to give way to uncontrolled passion to develop our power of expressing it ; but while acting, we must always remain master of our resources.