A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 27
Stran 58
... gesture and the old - fashioned forms . The gesture of the past was made principally from the shoulder . Actors of the old school attempted to " visualize forcibly the tempests of emotion " in the characters they played by large , full ...
... gesture and the old - fashioned forms . The gesture of the past was made principally from the shoulder . Actors of the old school attempted to " visualize forcibly the tempests of emotion " in the characters they played by large , full ...
Stran 59
... gesture on a character ; he makes the character force the gesture on him . “ When you don't know what to do with your hands , do nothing , " is an old and good rule . What is said here with regard to the hands applies with equal force ...
... gesture on a character ; he makes the character force the gesture on him . “ When you don't know what to do with your hands , do nothing , " is an old and good rule . What is said here with regard to the hands applies with equal force ...
Stran 87
... gesture on his part ( such as a gesture of surprise or annoyance ) is called for , or when a little move- ment ( such as the quiet stitching of garments , shelling of peas , or whittling of a stick ) will add to the naturalness or ...
... gesture on his part ( such as a gesture of surprise or annoyance ) is called for , or when a little move- ment ( such as the quiet stitching of garments , shelling of peas , or whittling of a stick ) will add to the naturalness or ...
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