A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 63
Stran 95
... character's inner and outer attributes is , of course , the author's script . ( a ) The playwright's description of the appearance of the character in the stage directions , usually found at or near the character's first entrance into ...
... character's inner and outer attributes is , of course , the author's script . ( a ) The playwright's description of the appearance of the character in the stage directions , usually found at or near the character's first entrance into ...
Stran 96
... character . The points of the character which must be considered in the re - creative process are precisely those listed for analysis in the preceding section , all the manifestations of the three aspects of the character's nature - the ...
... character . The points of the character which must be considered in the re - creative process are precisely those listed for analysis in the preceding section , all the manifestations of the three aspects of the character's nature - the ...
Stran 99
... character , the reaction of an eccentric character to those about him - and of them to him - as when Falstaff rises to the bait of Hal's incredulity by making absurd claims that he downed fifty men ; in comedy of situation , the ...
... character , the reaction of an eccentric character to those about him - and of them to him - as when Falstaff rises to the bait of Hal's incredulity by making absurd claims that he downed fifty men ; in comedy of situation , the ...
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