A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 38
Stran 38
... face . The face is the focal and emphatic center of physical and mental expression . After observing the more general posture and action of the body as a whole , one looks to the face for a sharpening of the impression . The face is ...
... face . The face is the focal and emphatic center of physical and mental expression . After observing the more general posture and action of the body as a whole , one looks to the face for a sharpening of the impression . The face is ...
Stran 113
... faces of the audience . Such a scene is often painful beyond description . The good actor plays his part with restraint ... face completely . An over - written ( melodramatic , " wet " ) line of dialogue in a weak play may frequently be ...
... faces of the audience . Such a scene is often painful beyond description . The good actor plays his part with restraint ... face completely . An over - written ( melodramatic , " wet " ) line of dialogue in a weak play may frequently be ...
Stran 154
... face and you fall back . Ex . 54. You are seated in a chair waiting impatiently for a much desired friend . There is a knock . Assuming that it is your friend , you rush forward and swing open the door . Instead of your friend you see ...
... face and you fall back . Ex . 54. You are seated in a chair waiting impatiently for a much desired friend . There is a knock . Assuming that it is your friend , you rush forward and swing open the door . Instead of your friend you see ...
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