A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 58
Stran 90
... dramatic purpose of his role . Conceiving the part he has to play as a single unit in a design made up of many units , he must de- termine what is the function of his role in the creation of a harmonious whole , what the author intended ...
... dramatic purpose of his role . Conceiving the part he has to play as a single unit in a design made up of many units , he must de- termine what is the function of his role in the creation of a harmonious whole , what the author intended ...
Stran 108
... dramatic character acting upon and re- acting to other dramatic characters . A play is a story of human Contacts and Responses . The many different emotions which stir and are stirred in the ceaseless interchange never for a moment rest ...
... dramatic character acting upon and re- acting to other dramatic characters . A play is a story of human Contacts and Responses . The many different emotions which stir and are stirred in the ceaseless interchange never for a moment rest ...
Stran 110
... dramatic dialogue , whether prose , is written with this recurring accent in Chap . IV , Sect . 7. ) An experienced ... dramatic movement is designed to contain th of recurring accent which marks dramatic dialo of greater activity are ...
... dramatic dialogue , whether prose , is written with this recurring accent in Chap . IV , Sect . 7. ) An experienced ... dramatic movement is designed to contain th of recurring accent which marks dramatic dialo of greater activity are ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
TRAINING FOR EXPRESSIVENES | 31 |
Avtorske pravice | |
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A. A. Milne acter acting action actor arms articulation artist attention audience backbone body breath chair character chest climaxes 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 MOTSINGER move movement muscles never Nicholas normal objects observed pantomimic pause performance person phrase physical play player PLAYER'S HANDBOOK playwright position posture re-creation reaction rhythm rhythmic scene sense Sensory Memory shoulders side soft palate speaks spectator speech stage standing STARK YOUNG story suggest symbols theatre things thought tion tone tongue torso trained vocal voice-tones walk wall Walt Whitman whole words