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Journal Article
Theater (1 May 1985) 16 (2): 32–37.
Published: 01 May 1985
...Art Borreca Copyright © THEATER 1985 1985 “Idi Amin Was the Supereme Actor An Interview with Wole Soyinka Art Borreca Wok Soyinku’s patron Yoruba god, Ogun, is approprdely the god...
Journal Article
Theater (1 February 1985) 17 (1): 66–69.
Published: 01 February 1985
...Linda Walsh Jenkins; Susan Ogden-Malouf Copyright © THEATER 1985 1985 The (Female) Actor Prepares ~- Linda Walsh Jenkins and Susan Ogden-Malouf Actors are rnore powerfully affected by a play than is an...
Journal Article
Theater (1 November 1987) 18 (3): 54–62.
Published: 01 November 1987
...Joel Schechter Copyright © THEATER 1987 1987 TURNING GREEN: CONFESSIONS OF AN ACTOR POLITICIAN JOEL...
Journal Article
Theater (1 May 1991) 22 (2): 39–46.
Published: 01 May 1991
.... Vospominaniia o Mikhaife Bulgakove . Moscow, 1988 . Eikhenbaum , B. O literature: paboty raznyx let . Moscow, 1987 . Bulgakov , Mikhail : P'esy 20-x godov , ed. A. Ninov. Leningrad, 1989 . Stanislavsky , K. S. Sobranie sochinenii . Moscow, 1961 . "I'M AN ACTOR...
Journal Article
Theater (1 February 1969) 2 (1): 132–138.
Published: 01 February 1969
...Steve Ben Israel Copyright 1969 by yale/theatre 1969 An actor prepares by Steve Ben Israel This workshop was held early Saturday morning, 28 Sept., 1968, in response to stu- dent interest in the rehearsal methods of the Living Theatre. Steve Ben Israel filled...
Journal Article
Theater (1 May 1973) 4 (2): 117–122.
Published: 01 May 1973
...Roger Copeland Copyright © by yale/theatre 1973 1973 Notes on Joe Chaikin's The Presence of the Actor Atheneum $6.95 161 pages ...
Journal Article
Theater (1 May 1977) 8 (2_and_3): 170–173.
Published: 01 May 1977
...Nancy Kauffman Copyright © Yale/Theatre 1977 1977 Merce Cunningham, Actor By Nancy Kauffman “An is intelligence functioning at intuitional velocity.” -c. e. cummings “Dance is a spiritual exercise in physical form.” -Merce Cunningham Composer John Cage tells this...
Journal Article
Theater (1 May 1977) 8 (2_and_3): 94–103.
Published: 01 May 1977
...Colette Brooks Copyright © Yale/Theatre 1977 1977 And Society -Plat0 -Jean-Jacques Rousseau -Jean - Pa u 1 Sart re In Pursuit of the Self: the Actor and Society By Colette Brooks...
Journal Article
Theater (1 February 1977) 9 (1): 79–82.
Published: 01 February 1977
...Jean-Pierre Ryngaert; Sandra Boynton Copyright © THEATER 1977 1977 Festival du Nancy '77; The Actor in Search of Doubles Jean-Pierre Ryngaert I have no idea whether it was a coinci- like the name 'Uber-marionette' until it doubles. These refer to the actual...
Journal Article
Theater (1 May 2006) 36 (2): 78–81.
Published: 01 May 2006
...Duccio Bellugi-Vannuccini Yale School of Drama/Yale Repertory Theatre 2006 Duccio Bellugi-Vannuccini A Sun Rises in Afghanistan: An Actor’s View When Théâtre du Soleil went to Australia with Tambours sur la digue, Ariane was very touched and very moved by...
Journal Article
Theater (1 May 1979) 10 (2): 94–103.
Published: 01 May 1979
...Theodore Shank Copyright © THEATER 1979 1979 Political Theater, Actors and Audiences: Some Principles and Techniques Theodore Shank The traditional purpose of Western theater in the twentieth cen• Western...
Journal Article
Theater (1 November 1982) 13 (3): 35–37.
Published: 01 November 1982
... Copyright © THEATER 1982 1982 Performing Dead End Kids: Statements by Mabou Mines Actors If someone i5 reading this in the distant future of course) some communal sense of continuity ta could really say was: “Let’s...
Journal Article
Theater (1 February 1982) 14 (1): 32–40.
Published: 01 February 1982
...Russell Vandenbroucke Copyright © THEATER 1982 1982 Athol Fugard: The Director Collaborates with His Actors Editor’s note: The following essay is exerptedfiom Truths the Hand Can Touch: The Theatrical World of Athol Fugard...
Journal Article
Theater (1 February 1990) 21 (1_and_2): 74–80.
Published: 01 February 1990
...Frederick J. Marker; Lise-Lone Marker Copyright © THEATER 1990 1990 BERGMAN AND THE ACTORS: AN INTERVIEW FREDERICK J. MARKER...
Journal Article
Theater (1 February 2018) 48 (1): 21–31.
Published: 01 February 2018
...Shonni Enelow Shonni Enelow asks, “What can we learn from looking at actors about the ways that surveillance has shaped contemporary life?” Her article examines performances in Leos Carax’s Holy Motors (2012), as well as works within the performance exhibition We’re Watching at Bard College (2017...
Journal Article
Theater (1 November 1986) 17 (3): 59–62.
Published: 01 November 1986
... choose to make statements about themselves and the intent of their work. This piece is not, then, a review of Actors Theatre's “Classics in Context” festival, and will not comment on its quality. It seeks instead to examine the theoretical constitution of such a festival from the standpoint of dramaturgy...
Journal Article
Theater (1 November 1989) 20 (3): 46–49.
Published: 01 November 1989
... theatrical motif to examine three separate issues. The first concerns Stalin's chameleon-like behavior towards all who came into contact with him. He goes on to describe the masterful staging of the Moscow Purge Trials during which virtually all the key actors - the defendants, witnesses, prosecutor, judge...
Journal Article
Theater (1 November 1993) 24 (3): 71–79.
Published: 01 November 1993
...Denis Salter Le Théâtre Repère was founded by the director Jacques Lessard in 1980 in Québec City. A theater of research, not a permanent acting troupe, Repère creates a special company of actors for each project it undertakes. Robert Lepage joined Lessard and Repère in 1983 and stayed until...
Journal Article
Theater (1 November 1993) 24 (3): 9–13.
Published: 01 November 1993
...Erika Munk The following interview was done backstage at the Sarajevo Youth Theater, August 25, 1993, with actors from its productions of Alkestis and Waiting for Godot. Haris Pasovic—professor at Sarjevo's Performing Arts Academy, Alkestis's director, and head of the Sarajevo Theater Festival...
Journal Article
Theater (1 February 2019) 49 (1): 78–95.
Published: 01 February 2019
.... Staging an “oblique encounter” between James Baldwin and María Irene Fornés via their experiences with The Actor’s Studio of the sixties—and discussing their distance from the rise of not-for-profits and theaters devoted to marginalized communities—Herrera concludes that both dramatists were “caught in...