The Art Theatre a Discussion of Its Ideals Its Organization And Its Promise a
The Art Theatre a Discussion of Its Ideals Its Organization And Its Promise a
Cheney Sheldon
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102 Acting and Actors ii After the music of speech there is a corre- sponding requirement of rhythm in the actor's movements. Not only must his gestures be quietly expressive, but there must be a certain grace of bodily action, and a measured fluidity or rhythm in changes from posture to posture. Just as in the use of the voice, there must be overtones of feeling: the face, the hands, the body and limbs must interpret the subtler emo- tion which are not expressed in the larger actions. For the ...face when used as a mask, and the body when directed as an instrument of rhythmic ex- pression, can register shades of feeling which are impossible even to the perfectly modulated voice. In the American theatre there used to be gen- erations of actors who possessed the subtlest pow- ers of expression and distinguished grace of bear- ing. The older generation in the theatre today has a charm of manner, a dignity of presence, which shames the average player. If this some- times amounts to a romantic affectation or arti- ficiality, so that we are apt to say disparagingly, "He has the manner of an old actor, " it still is no argument for throwing away the principle of beautiful movement.
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