Word: one
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Dates: during 1960-1969
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...Attic was indeed successful along these lines, and at that time I was flattered when people told me the show had Broadway finish. Rehearsals were built around improvisations which I had learned from Lee Grant, an Actors' Studio alumna whose classes I had attended in Los Angeles one summer...
...this stage in my development, I had very little sense of experiment within rehearsal and felt obliged to make conventional decisions in directions. During the run of the show. I changed the blocking of one of the scenes and to me this was a big move...
...One of the most important ideas for me in the book was the dictum that every day the actor and director must ask himself why he is in the theatre; I examined my own motives (really for the first time) and began to see that the theatre ideally should be a place of giving to people (an audience) who can come to commune with each other in an emotionally active way, where the actor does something in place of, and yet for, the spectator...
...whole process of rehearsal has been like interpreting a drama; this fluid state has only been possible, I think, because within the structure of Chekhov's play we were allowed to spend so much time in exercises and experimentation. This was one reason why I chose Chekhov and not a loosely constructed modern play which, though it might be more "relevant," would allow us too much freedom to rewrite and re-create. Chekhov is like God to us: nothing can be changed without the most careful examination of why he wrote it-and when we find out why, we realize...
...actors perform the sub-text of a scene as animals; if we show the sub-text of an object with something which is non-specific, we show the inner reality of a scene by playing against its superficial level. All scenes on stage are like icebergs, and when one prepares for them one discovers, hopefully, the 90 per cent that is submerged...