A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 15
Stran 108
... Contrast , Rhythm and Unity in the Dramatic Design All truly expressive acting , let it be re - emphasized , is “ flexi- ble " acting . It is acting that indicates , through constantly varied posture , voice - tone , and gesture the ...
... Contrast , Rhythm and Unity in the Dramatic Design All truly expressive acting , let it be re - emphasized , is “ flexi- ble " acting . It is acting that indicates , through constantly varied posture , voice - tone , and gesture the ...
Stran 110
... Contrast and Rhythm alone tend to make natural form , not managed form . The man seated in the audience is stirred by contrasts ; he feels the power of rhythms ; his emotions are stimulated when these forces enter his experience in the ...
... Contrast and Rhythm alone tend to make natural form , not managed form . The man seated in the audience is stirred by contrasts ; he feels the power of rhythms ; his emotions are stimulated when these forces enter his experience in the ...
Stran 127
... contrasts in the emotional forces represented by the two char- acters are supported by markedly dissimilar voice levels - the result of foresighted casting ... Contrast in the Placement of Actors ( a ) The THE ACTOR AND HIS DIRECTOR 127.
... contrasts in the emotional forces represented by the two char- acters are supported by markedly dissimilar voice levels - the result of foresighted casting ... Contrast in the Placement of Actors ( a ) The THE ACTOR AND HIS DIRECTOR 127.
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