Motion picture acting (1947)

Page scan 000101 from Motion picture acting

Record Details:

Title:
Motion picture acting
Date:
1947
Publisher:
New York, Funk & Wagnalls Co
Volume:
Motion picture acting
Leaf #:
000101
Language:
English
Contributor:
Internet Archive
Sponsor:
Internet Archive
Coordinator:
Media History Digital Library
Date Added:
July 19, 2022
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A DRAMATIC COACH MAKES A CONFESSION I was deeply touched, believe it or not!—even while I was taking the emotional reactions apart— because I knew this was the real thing. But you see, an audience is never quite that emotionally involved. Even in the presence of the greatest act- ing they always retain a little objectivity. The very presence of an audience is bound to impinge on the consciousness and keep them from forgetting en- tirely that it is, after all, acting. She was living that agony, poor soul. But it would have been a very badly over-played scene on the stage or in a picture. That's what Shakespeare meant when he said: ". . . in the very torment, tempest, and as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness . . ." and make it believable. He was talking about acting, not lifel In other words, it isn't good acting "to tear a pas- sion to tatters" although we sometimes do it in life. And we must not indulge in an "emotional jag" in our acting, thinking we are depicting life, because an audience just won't believe it! A very famous star played a role, a few years back, in which she groveled and grunted, strutted and shrieked until the audience thought she must have gone crazy. But she hadn't—she had just gone 75