Word: actor
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Dates: during 1960-1969
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...characters may seem to deserve all the bad things in life. They are certainly a thoroughly unsympathetic lot, and not one of them ever performs a generous act. They are animals, but first of all they are theatrical animals. They hold the stage like a military position. An actor long before he became a playwright, Pinter writes scenes with which actors can rivet an audience's attention. His stage animals circle and sniff and snarl and claw at each other, and the odor of vitality permeates the playhouse. These animals have been released from the cages of the poor...
Inspired by Kott's theories, London's National Theater Company last week staged a version of As You Like It in which all four female parts were played by men. For the production the actor-actresses were garbed in wigs and flowing gowns but there were no falsies and no falsettos. The result was a remark ably chaste performance free of disturbing homoerotic overtones. While Lon don reviewers generally had mixed feelings about the experiment, they praised the angular grace of Ronald Pickup's Rosalind, which evoked memories of the sprightly 1961 performance in the same role...
...part of Rosalind's confidante Celia, Charles Kay heightened the hu mor simply by reciting his iambic rantings in a sonorous baritone. And the actor-actors, headed by Jeremy Brett as Orlando, supported their mates with straight-faced manliness...
Died. Ludwig Donath, 67, Viennese-born character actor; of leukemia; in Manhattan. A well-known supporting actor in Austria and Germany in the 1930s, Donath was active in the anti-Nazi underground before fleeing to Hollywood in 1940. His thick accent made him a natural cinema Nazi, including der Führer himself in 1943's The Strange Death of Adolf Hitler, but his talent soon found other roles-most notably Al Jolson's cantor-father...
...long, if Strasberg has his way. During one class, after chiding a group of actors for eating their make-believe breakfast too rapidly, he lectured: "You are unconsciously following only chronological sequences, imitating an act rather than re-creating it. Through mastery of emotional memory after mastery of sensory memory, we create something new." "Absolutely fascinating," says Jeanne Moreau. "In principle, I am against all systems for training actors, but now 1 know that this is not what Strasberg means or does. He is a great teacher, the kind who doesn't mold an actor but makes him discover...