Theatre Arts on Acting

Introduction  Acting in the American Tradition  Acting and the New Stagecraft, by Walter Pritchard Eaton  The Place of the Actor in the New Movement, by Claude King  Billets doux, by Stark Young  Paul Muni: a Profile and a Self-Portrait, by Morton Eustis  Margaret Sullavan, by John Van Druten  Comedienne from Radcliffe: Josephine Hull, by William Lindsay Gresham  Laurette Taylor, by Norris Houghton  Seven Interviews in Search of Good Acting Off-Broadway, by Aimee Scheff  That Wonderful Deep Silence, by Shelley Winters  Shakespeare and the American Actor, by John Houseman  Geraldine Page, the Irony of a Legend, by Joseph Carroll  Jason Robards, Jr, by John Keating  George C. Scott, by Jack Balch  Maureen Stapleton, by Gilbert Millstein  Dear Diary, by Hume Cronyn  Julie Harris, by John Keating  The British Legacy  A Crux in English Acting, by Alastair Cooke  Acting in My Time, by St. John Irvine  An Artist's Apprenticeship, by John Gielgud  The Gielgud Macbeth, by Ashley Dukes  John Gielgud, by Alan Dent  The Actor as Biographer: Wilfred Lawson, by Rosamund Gilder  Gertrude Lawrence, by Theodore Strauss  The Oliviers, by Sewell Stokes  Sir Laurence and Larry, by Alan Pryce-Jones  Shaw and the Actor: Rex Harrison and SiobhÌÁn McKenna on Their Roles  An Actor Stakes His Claim, by Cedric Hardwicke  Albert Finney, by Audrey Williamson  Foreign Modes of Performance  How Reinhardt Works with His Actors, by Gertrud Eysoldt  The Month of Duse (excerpts), by Kenneth Macgowan  Eleonora Duse, by F. Bruno Averardi  Giovanni Grasso, by Stark Young  Mei Lan Fang, by Stark Young  The Acting of the Abbey Theatre, by Andrew J. Stewart  The Actor and the Revolution, by Pavel Markov  Child of Silence, by Jean-Louis Barrault  Louis Jouvet, the Triumph of Deceit, by Monroe Stearns  Lotte Lenya, by David Beams  Stanislavsky and His Followers  Stanislavsky's Speech to His Players  Perspective on Character Building, by Konstantin Stanislavsky  Fundamentals of Acting, by Richard Boleslawski  An Actor Prepares: a Comment on Stanislavski's Method, by John Gielgud  An Actor Prepares: Comments on Stanislavski's Methods, by Robert Sherwood, Harold Clurman and Norris Houghton  The Group Theatre in Its Tenth Year, by John Gassner  The Actor's Lab, by Dwight Thomas and Mary Guion Griepenskerl  Past Performance, by Lee Strasberg  An Actor Must Have 3 Selves, by Michael Chekhov  A Study of Actors Studio, by Maurice Zolotow  A Point of View and a Place to Practice, by Robert Lewis  Wanted: More Stars, Less Method, by Sherman Ewing  The Actor and His Role  The Actor Attacks His Part: Lynne Fontanne and Alfred Lunt  A Play in the Making: The Lunts Rehearse Amphritryon 38, by Morton Eustis  The Actor Attacks His Part: Katherine Cornell  The Actor Attacks His Part: Burgess Meredith  The Dancing Actor Attacks His Part: Fred Astaire  The Singing Actress Attacks Her Part: Lotte Lehman  Great Roles Reborn: Bette Davis Tells How Regina, the Old Maid and Miss Moffatt Came to the  Screen, by Roman Bonen  Technical Matters  The Voice in the Theatre, by Stark Young  Illusion in Acting, by Stark Young  The Lazy Actor, by John Shand  Type-casting the 8th Deadly Sin, by Edith Isaacs  The Moribund Craft of Acting, by Cedric Hardwicke  Speak the Speech, I Pray You, by John Gielgud  Notes on Film Acting, by Hume Cronyn  The Actor as Thinker, by Eric Bentley  GLOSSARY OF PROPER NAMES

Biography

Laurence Senelick

'The successful leading players of today stand on an uneasy bridge between two extremes of theatrical development. Behind us lie the glories of tradition, the grand manner, the star system ... Before us lie the fear of convention and imitation, the demand for novelty, the restless, impatient craving for easy success.' – John Gielgud

'I hate actors who bump into the furniture, or stand where they seem to be goosed by an armchair, or are frightened by tables, beds, lamps, doors and the surroundings in general.' – Hume Cronyn