A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 36
Stran 135
... clearly the methods by which effects have been created ; and where theatrical " machinery " is visible , drama usually vanishes . However , adaptations in style must sometimes be made . This is particularly true when quaint , clearly ...
... clearly the methods by which effects have been created ; and where theatrical " machinery " is visible , drama usually vanishes . However , adaptations in style must sometimes be made . This is particularly true when quaint , clearly ...
Stran 184
... clearly intelligible to a listener seated at some distance from the speaker . a . Vowel Drill For these exercises take an upright position , standing or sit- ting . Raise the chest comfortably . Ex . 9. Pronounce clearly and easily the ...
... clearly intelligible to a listener seated at some distance from the speaker . a . Vowel Drill For these exercises take an upright position , standing or sit- ting . Raise the chest comfortably . Ex . 9. Pronounce clearly and easily the ...
Stran 188
... clearly and easily at a moderate tempo the following line containing the " lateral " consonant . Touch the con- sonant lightly on each syllable , and keep the syllables short . lä lā lē loo , lo law lă lä Ex . 15. Pronounce clearly and ...
... clearly and easily at a moderate tempo the following line containing the " lateral " consonant . Touch the con- sonant lightly on each syllable , and keep the syllables short . lä lā lē loo , lo law lă lä Ex . 15. Pronounce clearly and ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
The Language of the Theatre | 16 |
Avtorske pravice | |
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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