Word: scripts
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Dates: during 1970-1970
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...very spare way and not to get into that thing of overload - of making up for what's not there through sets and costumes and stuff. But, rather, to start with the content which may in some cases be the actor and sometimes it may be the script or whatever and to expand from there, very sparsely, very slowly and only use what is really necessary...
...know Jean-Claude Van Italie in the published script of the Serpent talks about almost guiding the andience on a trip...
...right then, how did you approach the production of Endgame? -I guess I should say evolve the production. I know that the Serpent took over six months to evolve, but of course in that case you started without a script...
...began in an extremely traditional manner of having a first reading of the script and a second reading of the script and one of the things that was set up from the start was to have the actor consider the words without becoming involved with philosophical interpretation and to try and tell everything that was actual that could be found without fabricating. Anything that was not understood was not to be laden down with motive and situations, etc., but with what could be understood in very actual terms and let things build from there. Then we proceeded to look...
Another very important aspect of what one sees when one sees this production is. as I mentioned carlier, a consideration of communication through rhythm, vocal patterns, inflection as really integral to meaning. When we look at the script we come to the conclusion about the importance of verbalizations as Beckett has it, then we must consider how to yerbalize in a way that is special to that material. We looked into the expression of character through vocal elements very, very extensively. Another element of communication is a kind of series of icons, not frozen images at all, but ones...