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Kindle Notes & Highlights
by
Larry Moss
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January 4 - May 30, 2019
believe in it, or you have to find personalization or substitution that fits the script, or you have to find an “as if” to bring you to
the emotional place you n...
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Everything is specific. Only bad actors are general; life never is!
Laurette Taylor, who, in 1945, originated the role of Amanda
Wingfield in Tennessee Williams’s The Glass Menagerie
Stella Adler said to
“It’s not the lines, it’s the life.”
Affective memory is a tool for calling up an unusually intense personal experience
Stella Adler began to take great exception to it. She and other members of
the Group, such as Bobby Lewis, Harold Clurman, and Sanford Meisner,
He felt that Strasberg was underutilizing the physical action of the scene, the active doing—
the intentions. He also said that actors could use their imagination as well as personal experience to evoke emotion.
David Mamet
his book True or False.
Shakespeare, Ibsen, Strindberg, Chekhov, Anderson, Williams, Miller,
Albee, August Wilson, and
Streetcar,
The Pawnbroker,
In those days, in black-and-white films, they used chocolate syrup for blood
use your intellect
to reach your emotions.
acting is a spiritual quest to
touch human beings.
Ibsen’s Ghosts
Sanford Meisner was that emotion is the result of active doing.
Runt of the Litter by Bo Eason,
Runt is a one-man
show,
emotional trigger.
As an actor
you have to have a list of things that you know will cause you to be emotional at a moment’s notice.
Rod Steiger in The Pawnbroker
Memories
of Home Exercise
I often used the death of a little puppy
Marathon Man,
fabulous teacher of voice and Shakespeare, Patsy Rodenburg,
Lanford Wilson’s play Burn This
Burn This.
In acting, the worst thing to be is indifferent.
YOU HAVE TO CARE, YOU HAVE TO IMAGINE, YOU HAVE TO TRIGGER, YOU HAVE TO KNOW YOURSELF, YOU HAVE TO BE INTERESTED, CURIOUS, PASSIONATE.
good actors go to emotional places where nobody else wants to go.
The Green Mile.
A good or great performance is like peeling an
onion; in every scene you reveal another layer, something the audience hasn’t seen until then.
So far we’ve looked at
three techniques that contribute to interpretation:
superobje...
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active inte...
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inner im...
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