LOIS NETTLETON Handwritten letter, signed by Nettleton, on acting Autograph letter signed "Lois Nettleton" on page 9, 9 pages, 6¼x8¾, separate sheets. Addressed to "Mr. Barch". In full: "Dear Mr. Barch: Thank you for the compliment you pay me in asking for my opinion.

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Condition: lightly creased, otherwise fine condition
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Handwritten letter, signed by Nettleton, on acting
Autograph letter signed "Lois Nettleton" on page 9, 9 pages, 6¼x8¾, separate sheets. Addressed to "Mr. Barch". In full: "Dear Mr. Barch: Thank you for the compliment you pay me in asking for my opinion. It's a most difficult question to answer briefly, since it touches on the essence of acting - the 'mistique' (sic). Both quotations are right, in a sense. There have been wonderful actors who can arouse the desired reactions and emotions in an audience through basically 'technical' means - some can even 'cry' on cue, technically. I can't explain that - it's not the kind of actor I am. In the method to which I adhere, you don't work to 'create emotions' in yourself. The aim is to analyze - moment-to-moment, scene by scene - what you are trying to do. What is your intention, desire, want, need? The more deeply and passionately you can pursue and 'live' that intention or need, even if it's very simple or intellectual, the better. Along with that is a 'conflict' or 'obstacle', either outside yourself or within, which you must battle against to achieve your desire. It can be psychological or physical resistance, social opposition, circumstantial difficulties, whatever. If you stay vulnerable and sensitive enough, the struggle to accomplish what you desire, against the opposition, will stimulate the proper emotion. You must also be very open, loose, relaxed in a way, so that these emotions can break through. Coquelin: 'to move others, one must be unmoved' means, I think, that you can't try to 'feel' the emotion - you must try to fulfill your intention - sometimes even fight the emotion rising up - don't enjoy wallowing in the emotion or 'watching' yourself feeling it. If your 'intention' or 'need' is passionate enough, and you can 'psych' yourself into believing it - the audience will respond emotionally, whether you succumb to the emotion or not. Arliss: 'the good actor must be moved by emotions of the past' means, I think, that you must be true and unhibited (sic) in what you are trying to do, and a willing and free vessel in your physical, emotional and intellectual reactions. You must not 'comment on' or 'edit' what you are doing - all those decisions were [word crossed out] made in rehearsal. You must run with the emotions that you feel - let them go - 'live' the role - but concentrating only on what you are trying to do. Impossible to explain briefly. But the gist of it is, concentrate on your intentions, and be vulnerable enough to let the emotions run free. It's the preparation and the analysis in rehearsal that's most important. If you're absolutely secure and believing in each moment - leading inevitably to the next moment - of what you are intending, the emotions will happen almost as if on a computer. As a singing coach once told me, 'follow the recipe'. Let the chips (emotions) fall where they may. I love teachers. Best of luck to you and your students. Sincerely". Stage, screen and television actress Lois Nettleton (1927-2008) made her Broadway debut in 1949. She was critically acclaimed as Blanche DuBois in a 1973 performance of Tennessee Williams' A Streetcar Named Desire and was nominated for the 1976 Tony Award as Best Actress for They Knew What They Wanted. Nettleton also appeared off-Broadway with her husband of seven years (1961-1967), disc jockey and writer Jean Shepherd, in his play, Look Charlie (1959). Nettleton had "met" Shepherd as the first caller on his radio talk show, and their frequent conversations were a popular staple of the program. She made her "official" film debut in Period of Adjustment (1962), but Nettleton previously played a bit part in A Face in the Crowd (1957). Although she appeared in a number of feature films, Nettleton is best known for her television work. Nettleton won two Emmy Awards for her work on the small screen, one for the daytime special, The American Woman: Profiles in Courage (1977), in which she portrayed Susan B. Anthony, and one for A Gun for Mandy (1983), an episode of the religious program, Insight. She's probably best known for her roles as Joanne St. John from 1989 to 1990 in the TV version of In the Heat of the Night and as Virginia Benson from 1996 to 1998 on General Hospital. Her roles also include roles in made-for-TV movies, miniseries, regular roles on such series as The Brighter Day (1954-1957), All That Glitters (1977), You Can't Take It With You (1987-1988) and guest starring roles on a long list of TV series from Man Against Crime (1953) to Crossing Jordan (2001). She also supplied the voice of Maleficent in Disney's TV series House of Mouse (2001-2002). Lightly creased. Fine condition.

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