Word: actor
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Dates: during 1960-1969
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...idea, it seems, is that since drama is a matter of action, actors should practice not particular lines and crossings, but complete "doings." If, for example, the script calls for a search, the actor should improvise, hunting for whatever he wants to, until he becomes sufficiently involved in the action. Eventually, this should train the actor to concentrate, and to control his movements and voice by controlling his attitudes...
...appreciate the kind things that you said about me in your review of Bus Riley's Back in Town [April 23]. It is difficult for an actor today to bring in any kind of contemporary feeling and not be compared with either Marlon Brando or James Dean. I would like to thank you for pointing out that I may have some entity...
...Austria simply is not avantgarde. People are brought up cherishing concepts of the 19th century, and the stimulating effect of the Jewish element is missing." Attracted by better pay and opportunity, thousands of young Austrian intellectuals have deserted the Danube for West Germany and Switzerland. Sniffs the brilliant young actor-satirist Helmut Qualtinger, who stayed behind: "Austria is the Disneyland of Europe. Nothing but Lippizaners, Strauss, Schlag, schmalz and zithers. And who really likes Sachertorte...
Opulently photographed in and around a crumbling English abbey, Ligeia, like its predecessors, offers meticulous decor, shrewd shock techniques, and an atmosphere of mounting terror that fails to deliver on its promise. Again, the cream-centered menace is Vincent Price, an actor who appears to be swooping around in a cape even when he stands perfectly still. His first wife dead, Price marries a breathtaking beauty (Elizabeth Shepherd) and takes her on a honeymoon that includes a stop at Stonehenge. Back home he resumes his necrophilic fancies until, as usual, a great raging holocaust consumes castle, corpses, black cats, Price...
Still, the debilitating shock is there, and this touring company skillfully meets the play's demanding range of emotion. Charles Aidman's Quentin grows quietly, barely changing tone in most of the first act, until his final scene with Louise. The actor's mental and physical exhaustion by the end of the three hours on stage, mirrors that of the character, who has relived the most horrible moments of his life. Judi West as Maggie creates, in her first scene, the uneasiness we should expect even without our foreknowledge of Maggie's suicide. She is a pitiable, blond rag doll...