A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 3
Stran 101
... Nicholas and Eustasia are at breakfast . Nicholas , weary of his companion's over - attentive solicitude for his comfort , is trying to impress her with the fact that he has finished his meal . EUSTASIA . Finished , darling ? NICHOLAS ...
... Nicholas and Eustasia are at breakfast . Nicholas , weary of his companion's over - attentive solicitude for his comfort , is trying to impress her with the fact that he has finished his meal . EUSTASIA . Finished , darling ? NICHOLAS ...
Stran 102
The Theory Ad Practice of Acting Samuel Selden. EUSTASIA . Nicholas never had an apple ! NICHOLAS . Oh no , thanks . I don't want one . EUSTASIA . Oh , but he must have an apple ! It's so good for him . [ Takes apple . ] An apple a day ...
The Theory Ad Practice of Acting Samuel Selden. EUSTASIA . Nicholas never had an apple ! NICHOLAS . Oh no , thanks . I don't want one . EUSTASIA . Oh , but he must have an apple ! It's so good for him . [ Takes apple . ] An apple a day ...
Stran 103
... Nicholas to accept her attention ( scheming thereby , of course , to win Nicholas ' attention in return ) . 2. Nicholas refuses . 3. Eustasia asks Nicholas to accept her attention . 4. Nicholas refuses . 5. Eustasia implores Nicholas to ...
... Nicholas to accept her attention ( scheming thereby , of course , to win Nicholas ' attention in return ) . 2. Nicholas refuses . 3. Eustasia asks Nicholas to accept her attention . 4. Nicholas refuses . 5. Eustasia implores Nicholas to ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
The Language of the Theatre | 16 |
Avtorske pravice | |
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A. A. Milne acter acting action actor arms artist attention audience backbone body breath chair character chest Cloey's color consonants Constantin Stanislavsky contrast diaphragm director door dramatic effective effort emotion Eustasia exercises experience expressive eyes face feel feet fingers force forward front gesture GRACIE hand hard palate head Hecuba imagination J. O. Bailey JOSEPH keep knee larynx legs lift LILLY look manifestations MANNER OF ARTICULATION ment mind Miss Cloey mn ng MOTSINGER move movement muscles never Nicholas normal objects observed pantomimic pause performance person phrase physical play player playwright position posture re-creation reaction rhythm rhythmic scene sense Sensory Memory shoulders side soft palate sounds speaks spectator speech stage standing STARK YOUNG story suggest symbols theatre things thought tion tone tongue torso trained vocal voice voice-tones vowels walk wall Walt Whitman whole words