A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 21
Stran 3
... artist live , let him be enchanted , disappointed , happy ; let him suf- fer , love , and live through the entire gamut of human emotions , but let him at the same time learn to recreate his life and his emotions into art ! CONSTANTIN ...
... artist live , let him be enchanted , disappointed , happy ; let him suf- fer , love , and live through the entire gamut of human emotions , but let him at the same time learn to recreate his life and his emotions into art ! CONSTANTIN ...
Stran 4
... artist is first of all , then , a man capable of a keen aware- ness of Life . " The arts , " says Prof. I. A. Richards , “ are our storehouse of recorded values . They spring from and per- petuate hours in the lives of exceptional ...
... artist is first of all , then , a man capable of a keen aware- ness of Life . " The arts , " says Prof. I. A. Richards , “ are our storehouse of recorded values . They spring from and per- petuate hours in the lives of exceptional ...
Stran 5
... artist . For- tunately the joyous experience of the artist is intensified when he shares it with those who , restless and spiritually hungry , seek through art the fulfillment of desires commonly re- pressed . The more the artist can ...
... artist . For- tunately the joyous experience of the artist is intensified when he shares it with those who , restless and spiritually hungry , seek through art the fulfillment of desires commonly re- pressed . The more the artist can ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
The Language of the Theatre | 16 |
Avtorske pravice | |
24 preostalih delov ni prikazanih
Druge izdaje - Prikaži vse
Pogosti izrazi in povedi
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