A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 33
Stran 101
... give me your pipe . [ He gives it her reluctantly . She kisses it and gives it back to him , making a face . ] There ! And she doesn't really think it's a nasty horrid pipe , and she's ever so sorry she said so . . . . [ He goes up Left ...
... give me your pipe . [ He gives it her reluctantly . She kisses it and gives it back to him , making a face . ] There ! And she doesn't really think it's a nasty horrid pipe , and she's ever so sorry she said so . . . . [ He goes up Left ...
Stran 200
... give her a spill , With a rattle of blocks abaft . Yo ho ! Yo ho ! Come down with a will And bring the main - sheet aft . Rolling the foam up over the rail She smokes along and flings A spurt of spray in the curving sail , And plunges ...
... give her a spill , With a rattle of blocks abaft . Yo ho ! Yo ho ! Come down with a will And bring the main - sheet aft . Rolling the foam up over the rail She smokes along and flings A spurt of spray in the curving sail , And plunges ...
Stran 221
... give careful attention to the interaction between your character and the others , play- ing throughout for Contact - and - Response . As Cloey , be keenly aware of the effective presences of childish Gracie , your ter- rifying aunt ...
... give careful attention to the interaction between your character and the others , play- ing throughout for Contact - and - Response . As Cloey , be keenly aware of the effective presences of childish Gracie , your ter- rifying aunt ...
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