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A boundary blow-up for a class of quasilinear elliptic by Liu Ch., Yang Z.

By Liu Ch., Yang Z.

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The lately risen sun shines straight into ANATOL ’s room. ANATOL stands on the hither side of his bedroom door, which is a little open. He is listening. After a moment he closes the door very softly and comes back into the room. He looks nervous and rather puzzled. He sits down on not the most comfortable chair with a fretful sigh. Then he gets up to ring the bell. Then he sits down again. His costume is the strangest mixture of early morning and overnight that ever was: a dressing jacket and dress trousers, slippers, and a scarf round the neck; but he looks bathed and shaved, and his hair is brushed.

To which Kean replied no less laconically: “Dear Madam, I know it. Yours etc. ”’ So you see that personality may be a hindrance to playing comedy, even in the greatest actors. But, of course, both Kean and Mrs Siddons were people of such outstanding personality that they may have been only the exceptions which prove the rule, and the very greatness of their qualities in one direction may have hampered them in the other. My own belief is that an actor should be able to compass any part that falls within his spiritual comprehension, even if it is outside his physical equipment.

It is the art of 44 JUST DO IT convincing the public that the false is true. Over-emphasis, I suppose, is making an emotional mountain out of a colloquial molehill; and under-emphasis is presumably what is called in the theatre ‘throwing away’. Surprise explains itself. I suppose that anything that is irrelevant or divorced from its context, like suddenly shouting or bursting into tears for no reason, would cause comic surprise. A good example of this would be the maid at the end of George and Margaret 1 who could only speak in a whisper.

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