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they want from casting directors make-up, and mannerisms.
ness which hints at hidden sorrow and mystery, both irresistible attributes. Her conversation will center about free verse, with frequent quotations from Michael Arlen and others of the group of young modernists.
She'll make it an especial point to be seen at most of the worth Alice Da while first nights both of stage and ingenue screen. The consequence will be that this same casting director may offer her a dotted line for the vampiest role of the season. People will hint at a hidden love affair, or speak oi this change as a "comeback to the screen witl a new and deeper sympathy in her characterizations, learned from the school of han knocks," and so forth and so on.
So it is that the taking off of make-ui no longer means the death of the screei personality. It may persist beyond the studi. gates until, in some cases, the characteris tics and mannerisms of the assumed pei sonality may become so fixed, through Ion and arduous adoption, as to completely erad: cate all vestige of the former, supposed! real one.
This is not anything particularly new. i has long been known to be an almost inev table~ psychological reaction for any one poi traying the same type of character again an again unconsciously to carry the mannerisn of this type into private life. Perhaps tl: best example of this can be taken from t\ records of insane asylums of two or t decades ago, when more actors were inm from the effects of enacting the mad scene f "Dr. Jekyll and Mr. Hyde'' than from all o
causes together. ' A st' a 1 o n g B o u 1 e v almost ; a f t e r n : will r<j veal a n n umbe of thes inter e s t i n g ; diversifie< and if y( enough to the s t u c
Charles ("B periodically shaggy beat sees a lumbe lain role in