A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 65
Stran 56
... hand , and pull up sharply , slipping the other arm under the shoulders . Now he should get his knee , on the same side as the hand first used , well under the knees of the body and lift the body toward himself and up , letting the ...
... hand , and pull up sharply , slipping the other arm under the shoulders . Now he should get his knee , on the same side as the hand first used , well under the knees of the body and lift the body toward himself and up , letting the ...
Stran 58
... hand ; but it would be much more reasonable to lift it with the left hand , pass it to the right and present it with this hand . The easiest way is usually the right way . There are some little differences between the modern realis- tic ...
... hand ; but it would be much more reasonable to lift it with the left hand , pass it to the right and present it with this hand . The easiest way is usually the right way . There are some little differences between the modern realis- tic ...
Stran 169
... hand , and the dish - mop daintily , by the end of its handle , in his right hand , he works a long time at cleaning each piece , lifting it up and inspecting it before putting it down . When he is putting one of the plates on the table ...
... hand , and the dish - mop daintily , by the end of its handle , in his right hand , he works a long time at cleaning each piece , lifting it up and inspecting it before putting it down . When he is putting one of the plates on the table ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
The Language of the Theatre | 16 |
Avtorske pravice | |
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Druge izdaje - Prikaži vse
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