A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 93
Stran 7
... Actor An actor is a man trained to interpret understandingly the written symbols of another man's high esthetic experience . In order to be an effective communicator , the actor must first be a good ... ACTING " 7 The Art of the Actor.
... Actor An actor is a man trained to interpret understandingly the written symbols of another man's high esthetic experience . In order to be an effective communicator , the actor must first be a good ... ACTING " 7 The Art of the Actor.
Stran 119
The Theory Ad Practice of Acting Samuel Selden. very simple . " If the actor is a star , " one can imagine him say- ing to his son , “ it is his privilege and duty at all times to hold well the center of the stage and , by a vigorous ...
The Theory Ad Practice of Acting Samuel Selden. very simple . " If the actor is a star , " one can imagine him say- ing to his son , “ it is his privilege and duty at all times to hold well the center of the stage and , by a vigorous ...
Stran 129
... actor in relationship to other actors Characters are differentiated from each other by position and pose . If some ... actor following another actor into the center of the spectator's attention is usually placed in a different spot from ...
... actor in relationship to other actors Characters are differentiated from each other by position and pose . If some ... actor following another actor into the center of the spectator's attention is usually placed in a different spot from ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
TRAINING FOR EXPRESSIVENES | 31 |
Avtorske pravice | |
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A. A. Milne acter acting action actor arms articulation artist attention audience backbone body breath chair character chest climaxes 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 MOTSINGER move movement muscles never Nicholas normal objects observed pantomimic pause performance person phrase physical play player PLAYER'S HANDBOOK playwright position posture re-creation reaction rhythm rhythmic scene sense Sensory Memory shoulders side soft palate speaks spectator speech stage standing STARK YOUNG story suggest symbols theatre things thought tion tone tongue torso trained vocal voice-tones walk wall Walt Whitman whole words