A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 43
Stran 5
... experience of the artist is intensified when he shares it with those who , restless and spiritually hungry , seek through art the fulfillment of desires commonly re- pressed . The more the artist can communicate his " supreme experience ...
... experience of the artist is intensified when he shares it with those who , restless and spiritually hungry , seek through art the fulfillment of desires commonly re- pressed . The more the artist can communicate his " supreme experience ...
Stran 17
... experience a feeling because one has had an idea . However , there are to be observed differences of proportion in ... experience of the actor is first an inward one ; but he cannot communicate until he manifests something out- wardly ...
... experience a feeling because one has had an idea . However , there are to be observed differences of proportion in ... experience of the actor is first an inward one ; but he cannot communicate until he manifests something out- wardly ...
Stran 18
... experience in visible and audible symbols . In the next division of this chapter therefore we will consider how " communication " is effected through " expression . " B. THE EXPRESSION OF EMOTION 5. The Experience of Emotion The theatre ...
... experience in visible and audible symbols . In the next division of this chapter therefore we will consider how " communication " is effected through " expression . " B. THE EXPRESSION OF EMOTION 5. The Experience of Emotion The theatre ...
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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Pogosti izrazi in povedi
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