A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 46
Stran 38
... come from below . A bowed head does not mean much unless the torso is also bowed . The reverse is likewise true . When spirit comes into a man bent with the thought of his own worthless- ness , breath enters his lungs , his waist ...
... come from below . A bowed head does not mean much unless the torso is also bowed . The reverse is likewise true . When spirit comes into a man bent with the thought of his own worthless- ness , breath enters his lungs , his waist ...
Stran 102
... comes where Eustasia attempts to pour a little oil on the troubled waters of her young companion's temper by assuring him that she doesn't think his pipe is nasty and horrid at all , and Nicholas in disgust turns away . The third crest ...
... comes where Eustasia attempts to pour a little oil on the troubled waters of her young companion's temper by assuring him that she doesn't think his pipe is nasty and horrid at all , and Nicholas in disgust turns away . The third crest ...
Stran 243
... comes to me . You know , sometimes I feel like writing poetry about anything . You remember that Sun- day night you ... Come evening , I used to sit on the edge of the porch and suck a sour pickle and swing my legs and watch it get dark ...
... comes to me . You know , sometimes I feel like writing poetry about anything . You remember that Sun- day night you ... Come evening , I used to sit on the edge of the porch and suck a sour pickle and swing my legs and watch it get dark ...
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