292 results for your search

(1976, originally published 1885), 4 page(s)
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Boris Aronson: Central Park to Antium: Large and Lofty Views
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written by John Beaufort, 1911-1992, in The Christian Science Monitor, May 16, 1959, p. 6 (1959), 1 page(s)
"Our theater is terribly old-fashioned," said Boris Aronson resignedly. "It's mostly concerned with plays about relatives. It doesn't reflect our times --it is in no way experimental or contemporary. By contemporary, I don't mean combining 'Romeo and Juliet' and juvenile delinquency.
written by John Beaufort, 1911-1992, in The Christian Science Monitor, May 16, 1959, p. 6 (1959), 1 page(s)
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Careers of Stage Folk, Part V: Let There Be Light
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written by Simi Horwitz, fl. 2001, in Back Stage, Vol. 46 no. 29, July 21, 2005, pp. 20-22 (2005), 3 page(s)
Theatrical lighting is more complicated than focusing a spotlight on the face of the actor who is speaking. Lighting design creates the mood, sets the time of day, and can evoke the passage of time in a production, in addition to playing a pivotal role in transitions between scenes. Most lighting designers are fre...
written by Simi Horwitz, fl. 2001, in Back Stage, Vol. 46 no. 29, July 21, 2005, pp. 20-22 (2005), 3 page(s)
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Characters, Scenery and ‘Props’ Fun With Model Theaters—3
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written by Owen Oliver, fl. 1943, in The Christian Science Monitor, February 4, 1943, p. 8 (1943), 1 page(s)
The next step in making a model theater is building the sets, and making "props" and characters. The characters, which will be flat, will stand about 2 inches in height and can be made of paper provided it is stiff and strong.
written by Owen Oliver, fl. 1943, in The Christian Science Monitor, February 4, 1943, p. 8 (1943), 1 page(s)
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GODSPEED, TITANIC
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written by David Barbour, fl. 1998, in TCI - Theatre Crafts International, Vol. 31 no. 7, August/September 1997, pp. 70-72, 80, 82, 84 (1997), 6 page(s)
Barbour discusses the set design for the Broadway musical 'Titanic,' including the tilting mechanism, and the costume design for the show.
written by David Barbour, fl. 1998, in TCI - Theatre Crafts International, Vol. 31 no. 7, August/September 1997, pp. 70-72, 80, 82, 84 (1997), 6 page(s)
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How to Succeed in Business Without Really Trying
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written by David Barbour, fl. 1998, in TCI - Theatre Crafts International, Vol. 29 no. 5, May 1995, pp. 46-47 (1995), 2 page(s)
Scenic designer John Arnone's work on the Broadway revival of the 1960s musical 'How to Succeed in Business Without Really Trying' is discussed. The set features a 32-screen video wall, located at rear stage center.
written by David Barbour, fl. 1998, in TCI - Theatre Crafts International, Vol. 29 no. 5, May 1995, pp. 46-47 (1995), 2 page(s)
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Inigo Jones
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in The Architects' Journal, December 3, 1952, p. 664 (1952), 1 page(s)
in The Architects' Journal, December 3, 1952, p. 664 (1952), 1 page(s)
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Inigo Jones and the Theatre
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written by William Lethaby, 1857-1931, in Architectural Review, April 1912, pp. 189-190 (1912), 2 page(s)
written by William Lethaby, 1857-1931, in Architectural Review, April 1912, pp. 189-190 (1912), 2 page(s)
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LOOK HERE!
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written by Simi Horwitz, fl. 2001, in Back Stage, Vol. 51 no. 47, November 25, 2010, p. 11 (2010), 1 page(s)
Horwitz provides makeup tips for theatrical actors. In small spaces, theatrical makeup is more cinematic and less exaggerated. Makeup artist Angelina Avallone recommends that every actor own a makeup kit, and it is also suggested that foundation and eyeliner should always be used.
written by Simi Horwitz, fl. 2001, in Back Stage, Vol. 51 no. 47, November 25, 2010, p. 11 (2010), 1 page(s)
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Making a Character
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written by Kevin M. Mitchell, fl. 2000, in Stage Directions, Vol. 25 no. 3, March 2012, pp. 17-20 (2012), 5 page(s)
Makeup and costume companies offer costuming and makeup tips to costume and makeup designers to help them create individual characters but still keep a consistent look for a stage production. Companies commenting include Ben Nye, Mehron, Inc., Graftobian, AEO Studios, WonderFlex World, Costume Holiday House, Goods...
written by Kevin M. Mitchell, fl. 2000, in Stage Directions, Vol. 25 no. 3, March 2012, pp. 17-20 (2012), 5 page(s)
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