A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 23
Stran 123
... director maintains , he cannot help making the right interpretation of an author's written sym- bols and creating the physical and vocal figures which will bring the author's vision to life on the stage . The fourth and final type of ...
... director maintains , he cannot help making the right interpretation of an author's written sym- bols and creating the physical and vocal figures which will bring the author's vision to life on the stage . The fourth and final type of ...
Stran 127
... director composing significant tone pic- tures maintains a clear differentiation between the average levels of the different voices . In long or important passages of dialogue especially , when only two people are on the stage ...
... director composing significant tone pic- tures maintains a clear differentiation between the average levels of the different voices . In long or important passages of dialogue especially , when only two people are on the stage ...
Stran 130
... director employs visual symbolism . Opposing forces , represented by individuals or groups , are set over against each other on the two sides of the stage , or on different levels . Space tends to mark the separation of character . The ...
... director employs visual symbolism . Opposing forces , represented by individuals or groups , are set over against each other on the two sides of the stage , or on different levels . Space tends to mark the separation of character . The ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
The Language of the Theatre | 16 |
Avtorske pravice | |
24 preostalih delov ni prikazanih
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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