A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 51
Stran 18
... EMOTION 5. The Experience of Emotion The theatre is , primarily , a place where " feelings " are com- municated . The actor's power as a " communicator " is clearly based , therefore , on his ability to portray emotion . But the actor ...
... EMOTION 5. The Experience of Emotion The theatre is , primarily , a place where " feelings " are com- municated . The actor's power as a " communicator " is clearly based , therefore , on his ability to portray emotion . But the actor ...
Stran 19
... emotion . A person can excite himself to emotion by creating a mental representation of a scene which , if it really existed , would cause the physical changes which induce a " feeling of emo- tion . " In other words , the person ...
... emotion . A person can excite himself to emotion by creating a mental representation of a scene which , if it really existed , would cause the physical changes which induce a " feeling of emo- tion . " In other words , the person ...
Stran 29
... emotion are , there- fore , obvious . He must aim to understand fully and experience intelligently each emotion he intends to transmit . He must strive then to transmit the emotion efficiently and forcefully by manifesting the ...
... emotion are , there- fore , obvious . He must aim to understand fully and experience intelligently each emotion he intends to transmit . He must strive then to transmit the emotion efficiently and forcefully by manifesting the ...
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