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IV Qaddm A younij Vro' KIM STANLEY DOESN’T LIKE THE ‘IT’S ALL OVER’ FEELING Far and away Broadway’s “actress of the year” last season, judging from the near-unanimous testimony of critics and polls, was a hazel-eyed ash- blonde named Kim Stanley. Miss Stanley earned—and is still earning —cheers for her virtuoso performance as an appealing, not-too-bright caba¬ ret singer in William Inge’s hit play, “Bus Stop.” Broadway laurels have been perched frequently atop Miss Stanley’s broad brow in the past few years, for skilful contributions to “The Chase,” “Picnic” and “The Traveling Lady.” Yet, despite the stage’s lavish re¬ wards, Kim manages to find time— and kind words—for television. Be¬ tween footlight chores, she regularly appears before the cameras, display¬ ing a particular affection for TV Play¬ house. In certain ways, she says thoughtfully, she prefers TV to other acting mediums. “The emotional and physical mus¬ cles are the same for all acting,” she points out, “but acting for a camera is more relaxing. You don’t have to project to the last row of the balcony.” But if there are advantages, there are drawbacks, too. For the actor, Kim feels, TV is “sad” and “the least ful¬ filling.” “You do a TV show once and it’s all over. If the material is inter¬ esting, you can’t repeat things and Kim Stanley in TV's 'The Bridge,' with John Ireland and young Mike Oscard. Right: costumed for stage hit, 'Bus Stop.' have new feelings come to you.” To Kim, whether on stage or TV, acting is largely “feeling.” Even to pose for a TV GUIDE picture, she found it necessary to reconstruct a mood. Donning the brief cabaret cos¬ tume she wears at one point in “Bus Stop,” she ran through the emotional gamut that marked that particular sequence in the play. 20