A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 46
Stran 11
... course , on the part of the person who holds such an opinion , a failure to realize , first , that seeming to be " just human " or " natural " on a brilliantly lighted platform at a considerable distance from one's specta- tors requires ...
... course , on the part of the person who holds such an opinion , a failure to realize , first , that seeming to be " just human " or " natural " on a brilliantly lighted platform at a considerable distance from one's specta- tors requires ...
Stran 57
... course , many variations in the technique of the em- brace . Entrances and Exits . Entrances and exits to and from the stage must be made by the player in character with his part and the dramatic situation , neatly , on time , and in ...
... course , many variations in the technique of the em- brace . Entrances and Exits . Entrances and exits to and from the stage must be made by the player in character with his part and the dramatic situation , neatly , on time , and in ...
Stran 95
... 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 the play . ( b ) The stage business ( personal ...
... 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 the play . ( b ) The stage business ( personal ...
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