The Paradox of ActingChatto & Windus, 1883 - 108 pages The Paradox of Acting by Walter Herries Pollock Denis Diderot, first published in 1883, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it. |
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Expressions et termes fréquents
actor actress Adrienne Lecouvreur Agamemnon anſwer artiſt aſk aſſociate aſſume becauſe beſt Caillot caſe cauſe character Clairon cloſe COMÉDIEN Comédiens du Roi comedy courſe Diderot Engliſh expreſs expreſſion faid fame feeling firſt appearance forrow foul Français Garrick genius give heart HENRY IRVING himſelf hiſſed houſe ideal type imitation inſpiration intereſting juſt laſt laugh left the ſtage leſs liſten loſe lover Macklin maſter Mazurier Mlle moſt muſt myſelf neſs never obſervation paffion paradox Paris paſſage paſſion perſon perſonages play player pleaſure poet poet's praiſe preſented publiſhed raiſe reſt reſult ſaid ſame ſay ſcene SECOND Sedaine ſee ſeemed ſeen ſenſibility ſenſitive Shakſpeare ſhall ſhape ſhe ſhould ſhow ſimple ſketch ſmall ſociety ſome ſometimes ſpeaking ſpectator ſpeech ſpirit ſtill ſtory ſtreet ſtrength ſtrikes ſtrong ſtruck ſtudy ſtyle ſubject ſucceſs ſuch ſuppoſe talent talk Tartufe taſte tears tell theſe thing thoſe tone tragedy uſed Voltaire whoſe woman worſe
Fréquemment cités
Page 18 - ... as they are in nature? Certainly not. Were it so the true would be the commonplace. What, then, is truth for stage purposes? It is the conforming of action, diction, face, voice, movement, and gesture, to an ideal type invented by the poet, and frequently enhanced by the player. That is the strange part of it. This type not only influences the tone, it alters the actor's very walk and bearing.
Page 9 - ... going on, both in the physical and the moral world. . . . They dart on everything which strikes their imagination; they make, as it were, a collection of such things. And from these collections, made all unconsciously, issue the grandest achievements of their work. Your fiery, extravagant, sensitive fellow, is for ever on the boards; he acts the play, but he gets nothing out of it. It is in him that the man of genius finds his model. Great poets, great actors, and, I may add, all great copyists...
Page 28 - C'en est fait ; je me veux guérir, et connais bien Ce que de votre cœur a possédé le mien. Un courroux si constant pour l'ombre d'une offense...
Page xiii - The inspired actor will so associate you with the emotions he feels that he will not leave you even the liberty of judgment; the other, by his prudent and irreproachable acting, will leave your faculties at liberty to reason on the matter at your ease.
Page 14 - ... beggar in the street or at the door of a church — a beggar who substitutes insult for vain appeal; or like a courtesan who has no heart, and who abandons herself in your arms. Have you ever thought on the difference between the tears raised by a tragedy of real life and those raised by a touching narrative? You hear a fine piece of recitation; by little and little your thoughts are involved,, your heart is touched, and your tears flow. With the tragedy of real life, the thing, the feeling and...
Page 16 - ... from? Who is the inventor of all this stuff? In what world do people talk like this?" THE SECOND. And why are they not intolerable on the stage? THE FIRST. Because there is such a thing as stage convention. As old a writer as Aeschylus laid this down as a formula — it is a protocol three thousand years old. THE SECOND. And will this protocol go on much longer? THE FIRST. That I cannot tell you. All I know is that one gets further away from it as one gets nearer to one's own time and country....
Page 59 - ... struck like us with an infinity of troubles in quick succession, which sometimes wither and sometimes tear our hearts, how many days would he have left to devote to our amusement? Mighty few. The Groom of the Chambers would vainly interpose his sovereignty, the actor's state would often make him answer, "My lord, I cannot laugh today," or, "It is over cares other than Agamemnon's that I would weep.
Page 4 - ... let me tell them to you as they come to me, with the same want of order that marks your friend's book. If the actor were full, really full, of feeling, how could he play the same part twice running with the same spirit and success? Full of fire at the first performance, he would be worn out and cold as marble at the third.
Page 30 - Je romps avecque vous, et j'y romps pour jamais, Puisque vous le voulez. Que je perde la vie Lorsque de vous parler je reprendrai l'envie ! LUCILE.
Page 13 - Like other gymnastics, it taxes only his bodily strength. He puts off the sock or the buskin; his voice is gone; he is tired; he changes his dress, or he goes to bed; and he feels neither trouble, nor sorrow, nor depression, nor weariness of soul. All these emotions he has given to you. The actor is tired, you are unhappy; he has had exertion without feeling, you feeling without exertion.
Références à ce livre
Stanislavsky in Focus: An Acting Master for the Twenty-First Century Sharon Marie Carnicke Aucun aperçu disponible - 2008 |
The Shock of the Real: Romanticism and Visual Culture, 1760-1860 Gillen D'Arcy Wood Aucun aperçu disponible - 2001 |