Word: actor
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Dates: during 1920-1929
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...Never Died. The determined and generally erratic Provincetown Playhouse is again busy with a wild experiment. From the pen of Charles Webster, an actor, they have produced a play about a man who discovers the secret of eternal life. This secret is not a matter of potions and glands; it is rather some spiritual understanding of the future so satisfying that the casual troubles of the world do not wear out the body. All this comes out in the last half of the play. The first half is a murder mystery very much like that in any Broadway mystery play...
...Because I say that most of the actor's interpretation must come from within himself I do not wish it to be thought that I consider of little moment the work being done by schools of drama. It is now almost banal to say that technique is something which must be learned and then completely forgotten. It has been said so many times. What we need to remember is that technique must be studied and made completely a part of one's acting before it can be forgotten...
...costume for her entrance as Gina in the second act of "The Wild Duck." Miss Yurka gave a few finishing touches to her hair, leaned forward resting her elbows on the dressing table and spoke concerning audiences. "The truly discriminating audience is not satisfied always to associate one actor with one role. It is a sign of discrimination when the audience is able to appreciate true dramatic art which is only obtained when the actor makes of his role a vehicle for an interpretation as part of himself. The playwright furnishes only a black and white sketch of his play...
Charlie is a finished director, a tragic, sympathetic, little actor, and a very great genius in his way. Syd is a funny man, and after you have said that you have said everything. Admittedly he has no further ambition than to make his public laugh. He is a gag man, a female impersonator, and somewhat of a slap-stick clown. In no wise does he resemble brother Charles...
...great difference, sometimes the only one, between a stock company and a company playing but one 'play, is that in the former the spectator unconsciously is apt to hark back to the play of a week ago while witnessing the current spectacle. Unless the repertory actor succeeds in changing his dress, his speech, and his mannerisms most completely with each change of program, the audience is apt to see two plays at once, one with its eyes, the other with its subconscious mind...