A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 36
Stran 39
... eyes , however , are capable of consider- able independent action , which may involve the eyeballs or the eyebrows . The movement of the eyebrows is particularly effective in giving shape to facial expression . Eyes as per- ceptive ...
... eyes , however , are capable of consider- able independent action , which may involve the eyeballs or the eyebrows . The movement of the eyebrows is particularly effective in giving shape to facial expression . Eyes as per- ceptive ...
Stran 174
... eyes tell you . ” He bows again , several times , and allows the housekeeper to establish him comfortably in the leather chair . His eyes are fixed in sightless gaze upon the wall opposite him until she leaves , and as she quits the ...
... eyes tell you . ” He bows again , several times , and allows the housekeeper to establish him comfortably in the leather chair . His eyes are fixed in sightless gaze upon the wall opposite him until she leaves , and as she quits the ...
Stran 196
... eyes shine , Though the leaves thy brow darken . O Love , kiss me into silence , lest no word avail me , Stay my head with thy bosom lest breath and life fail me ! O sweet day , O rich day , made long for our love ! Eve shall kiss night ...
... eyes shine , Though the leaves thy brow darken . O Love , kiss me into silence , lest no word avail me , Stay my head with thy bosom lest breath and life fail me ! O sweet day , O rich day , made long for our love ! Eve shall kiss night ...
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