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Selection from Script Interpretation Class: A Doll’s House by Henrik Ibsen (ADS0243)
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36:00
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48:00
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Begins to move more, acts out motion in front of her head when saying “genius” and physically puts her hand under the other when saying “underneath”
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Body Language |
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Selection from Script Interpretation Class: A Doll’s House by Henrik Ibsen (ADS0243)
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4:51:00
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5:08:00
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Revelatory, rejects text?, “The words are absolutely useless”, ends with teaching voice
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Rhetorical Device |
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Selection from Script Interpretation: A Doll's House (ADS0168)
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1:05
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3:08
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Adler expounds her philosophy of acting as requiring literary interpretation and understanding of the context in which the work was written.
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Theory and Technique |
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Selection from Script Interpretation: A Doll's House (ADS0168)
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2:55
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3:29
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Adler says that understanding the context in which Ibsen wrote A Doll's House can help the actor to understand why he wrote it.
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Theory and Technique |
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Selection from Script Interpretation Class: A Doll’s House by Henrik Ibsen (ADS0243)
|
36:00
-
48:00
|
Begins to move more, acts out motion in front of her head when saying “genius” and physically puts her hand under the other when saying “underneath”
|
Body Language |
|
Selection from Script Interpretation Class: A Doll’s House by Henrik Ibsen (ADS0243)
|
4:51:00
-
5:08:00
|
Revelatory, rejects text?, “The words are absolutely useless”, ends with teaching voice
|
Rhetorical Device |