A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 45
Stran 41
... Effective Pantomime Four requirements of effective pantomime are : ( a ) Awareness - A lively sense of the proximity of people and objects ; and , especially , a keen consciousness , on tos signed & ontrasted . the part of the actor ...
... Effective Pantomime Four requirements of effective pantomime are : ( a ) Awareness - A lively sense of the proximity of people and objects ; and , especially , a keen consciousness , on tos signed & ontrasted . the part of the actor ...
Stran 62
... Effective Speech Two basic problems confront an actor in his effort to speak effectively on the stage : ( a ) Good word formation ( b ) Expressive tone The problem of word formation is a technical one . It in- volves the making of ...
... Effective Speech Two basic problems confront an actor in his effort to speak effectively on the stage : ( a ) Good word formation ( b ) Expressive tone The problem of word formation is a technical one . It in- volves the making of ...
Stran 193
... effective speech described in Chapters IV and V. When he reads the pieces included under Selections for Brilliance of Tone , he should direct his chief attention to clarity , to lightness , and to brightness . A primary requirement for ...
... effective speech described in Chapters IV and V. When he reads the pieces included under Selections for Brilliance of Tone , he should direct his chief attention to clarity , to lightness , and to brightness . A primary requirement for ...
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