A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 31
Stran 59
... attention " for the production he directs : The stripping process begins early . I eliminate all gesture that is not ... attention to himself and away from the play . Every movement on the stage should mean something . The spectator ...
... attention " for the production he directs : The stripping process begins early . I eliminate all gesture that is not ... attention to himself and away from the play . Every movement on the stage should mean something . The spectator ...
Stran 103
... 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 accept her attention ...
... 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 accept her attention ...
Stran 112
... attention ; attention which seems continuous is really a succes- sion of fresh perceptions , each the result of a fresh stimulus or a fresh effort of will . Any attempts to fix attention results in the destruction of attention , and ...
... attention ; attention which seems continuous is really a succes- sion of fresh perceptions , each the result of a fresh stimulus or a fresh effort of will . Any attempts to fix attention results in the destruction of attention , and ...
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