A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 50
Stran 24
... audiences . That happened noticeably a few years ago in the New York production of Eugene O'Neill's Desire Under the Elms . De- signed for a small , understanding audience , the early per- formances at the Greenwich Village Theatre were ...
... audiences . That happened noticeably a few years ago in the New York production of Eugene O'Neill's Desire Under the Elms . De- signed for a small , understanding audience , the early per- formances at the Greenwich Village Theatre were ...
Stran 115
... audience is never conscious of the presence of John Phillips . If the actor once steps down into the shoes of his character , he becomes visible . Then the illusion is destroyed ... audience PLAYING THE PART 115 The Effect on the Audience.
... audience is never conscious of the presence of John Phillips . If the actor once steps down into the shoes of his character , he becomes visible . Then the illusion is destroyed ... audience PLAYING THE PART 115 The Effect on the Audience.
Stran 116
... audience . These , let the actor remind himself ceaselessly as he labors to create the living person of his part on the stage , are his to use , if he needs them . But never must they be obtruded upon the attention of the audience which ...
... audience . These , let the actor remind himself ceaselessly as he labors to create the living person of his part on the stage , are his to use , if he needs them . But never must they be obtruded upon the attention of the audience which ...
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