Word: actor
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Dates: during 1950-1959
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...nearly four-hour-long play about the Tyrone family-actually the young O'Neill, his father, mother and elder brother-occupies a single day in 1912. The touchy, hard-drinking father-a gifted actor who had let himself dwindle into a successful matinee idol-is a miser...
...their value. The repetitions, for example, are in character, as coming from broken-willed people with a neurotic need for the solace or savagery of words. The plotlessness is the measure of their impotence. The play's language-merely straightforward and blunt, except where the self-dramatizing old actor and the word-conscious young writer empurple it -has in the theater far more trenchancy than the half-poetized prose so frequent in O'Neill. Even the lengthiness weights and certifies a story that, if told concisely, could merely seem lurid...
Died. Paul Kelly. 57, longtime (since 1907) Broadway actor, who played opposite Helen Hayes in Penrod (1918). turned to Hollywood in 1926, was convicted of manslaughter (1927) after Actor Ray Raymond died when Kelly slugged him during a quarrel over Raymond's wife, Actress Dorothy Mackaye. Kelly married Actress Mackaye in 1931 (she died after a car crash in 1940) after serving 25 months in San Quentin, later returned to Broadway, won the Donaldson and Perry awards for Command Decision (1947-48), starred in The Country Girl (1950-51); of a heart attack; in Los Angeles...
...second great virtue of the movie is the excellent quality of the acting on the part of all the principal performers. Gary Cooper, in the part of the father, is not an actor noted for the range of emotions which he can project, but this time he has found a part which can exploit his taciturn talents. He manages to suggest the battle going on in his character's soul, and a suggestion is really all the script requires. Dorothy McGuire, as the mother, must, on the other hand, show such divergent feelings as straight-laced devotion to duty...
Basically this technique forces the performer to become an accomplished actor. Those on the stage are not allowed to look at the conductor. Instead they must set the pace of the music and provide cues for the conductor. The adherents of this method of presenting opera claim it is the only way to create a living performance. Other techniques, they assert, lead only to operatic concerts wherein the singers are puppets dressed in magnificent costumes and playing on elaborately decorated stages...