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Jonathan Tommy
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STELLA ADLER playing Lady Sannox, in a 1949 tv mystery thriller, "The Case of Lady Sannox". Based upon the short story by Arthur Conan Doyle.
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Jonathan Tommy

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Really EXCITED for the newMarlon Brando documentary, using never before released audio and visual materials from his personal archives.
Mostly, I want to see the Adler content! See/hear the legendary Stella Adler in the trailer at the 44 second mark!!!! (*^_^*)/ 
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Would like to see this production come to fruition! :) 
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Jonathan Tommy

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Great! She's really relaxed and having a good time with the audience too!
She sounds so wonderful and is having more and more fun performing "Woman In Love" live! Love her performance on "People". She ended it so sweetly!
ALSO, she looks fantastic - chic and almost goth. Love the mix of leather and the draping of the fabric down the front!

Thanks for sharing this!!! :)
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Jonathan Tommy

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“The playwright after Ibsen was not considered serious unless he brought in the discussion. The play which cannot be argued is not a serious play. The argument concerns ideas that cannot be resolved. But they can be discussed. Until Ibsen, the problems were settled by the playwright. Ibsen unsettles you. He challenges the spectator to think and discuss and – from the discussion – to learn who he really is. He knows that if he can involve you in that way, he has the power to teach you something. Therefore, the material has to be about moral, social problems that affect the whole audience.
For the first time, the audience buys a ticket and in return takes away an idea that stays with them and that they have to deal with. The play’s meaning is not available to you unless you follow the argument in the action and involve yourself in the discussion. Ibsen says that unless it is discussed, you cannot find the truth. Get the Big Argument in an Ibsen play. Ibsen’s is a teaching theatre. He pioneered the idea that the audience – and the actors – must see life as more complex than they think.
The villainous character, for example, is just as conscientious as the heroic one, or – if anything – more so. He is just as “true” and as firm in his belief that he is right. Ibsen always has two points of view on the stage in his characters. One says ‘I believe this’ and the other says, ‘I believe that.’ The audience listens to both sides, but there is usually no way to resolve an Ibsen idea. [He] never says which character is wrong or right. That is absolutely new. The characters all have a right to live, a right to their own way. And if nobody is right, you have no hero. That is a big change. That is terribly challenging for the actor. He has to find the ability to say ‘Hitler was right’ if he is going to play that role. You cannot play Hitler as a villain. First of all, he thought he was right. That leaves you with a certain kind of grandeur – that thing of ‘I am Lear!’ ‘I am Hamlet!’ It leaves you with, ‘I am Nora,’ ‘I am Dr. Stockmann.’
If you are the audience, do not look for a hero or a villain.
If you are the actor, be on the side of your character.
An actor has to be big – enormous – a giant. His mind, his feeling, his ability to interpret must be that of a giant. From now on, instead of saying ‘I’m an actor,’ it would be a better idea for you to say ‘My profession is to interpret a script.’ The term ‘script interpretation’ is a profession; it’s your profession. Understand your profession: ‘Interpretation’ means that I’m going to find the play and the playwright in me. I’m not going to do Ibsen if it’s Chekhov. I’m not going to do Chekhov if it’s Strindberg. I’m not going to do Strindberg if it’s Shaw. These are different playwrights with different minds, and they say different things. The things they say will stay in literature forever. They want something. They have the mind to say something. They find the form to say it. Every writer writes in his style. The style comes out of his moment in history. The Greeks wrote in their moment of history. Shakespeare wrote in his. Chekhov wrote in his moment. Odets wrote in his.
When you do an author, you must know him. If you don’t know the author, you’re crazy. You must understand him and his time, not your time.
Time and place give you a great deal – the social circumstances. An actor who doesn’t know where he is is crazy. You must know on the stage that you’re in the garden, in prison, in an insane asylum, in a house, if it’s 1870 or 1960. You’ve got to know where and when. It is a crucial part of your craft. You have to know what class you come from. You have to know the season, the ethic of the time, the morality of the time. You must know that every play starts with the present but every play has a past. If you don’t know the past of your play, you don’t know your play. This is technique. This is craft. The play is in the present, but it deals one million percent with your past.
There’s a doctor who comes to you because he wants to make money, and there’s a doctor who comes to you because he’s interested in science, and there’s a doctor who comes to you because he works for the poor. It’s not in the play. It’s behind the play. The past is the actor’s job. That is where his talent is.”  {STELLA  ADLER}
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Jonathan Tommy

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Absolutely Jonathan... great to see a fellow apriciator...lol... Onigaishimasu..... onigai....... lol just fab. U in tokyo?
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Have him in circles
17 people
Ruslik Sir's profile photo
Michelle Graham's profile photo
Jim DiVitale's profile photo
장호진's profile photo
shelley giard's profile photo
Ahmed Raaidhu's profile photo
Ro.ad to Success's profile photo
Leonardo Benevenuto's profile photo
YEONHEE KIM TESI's profile photo
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