A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 17
Stran 45
... direction of concentrated thought . Initial consideration should be given to good posture , then to flexibility , then to quick response to mental command . ( d ) Mental Direction . A pantomimically trained body is of little value to ...
... direction of concentrated thought . Initial consideration should be given to good posture , then to flexibility , then to quick response to mental command . ( d ) Mental Direction . A pantomimically trained body is of little value to ...
Stran 95
... directions , usually found at or near the character's first entrance into the play . ( b ) The stage business ( personal actions ) of the char- acter found in the stage directions which accompany his lines throughout . The written ...
... directions , usually found at or near the character's first entrance into the play . ( b ) The stage business ( personal actions ) of the char- acter found in the stage directions which accompany his lines throughout . The written ...
Stran 153
... direction in which the feet are moving . Objects glimpsed at the side may be used to guide you . b . Exercises for Developing the Expressive Range of the Four Agents The following set of exercises designed to develop both freedom and ...
... direction in which the feet are moving . Objects glimpsed at the side may be used to guide you . b . Exercises for Developing the Expressive Range of the Four Agents The following set of exercises designed to develop both freedom and ...
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