A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 40
Stran 54
... keep it moving in the direction of the foot on each step . A good - looking leg has a straight inner line . The knee should be relaxed but firm . A surprising number of us suffer from weak knees the result no doubt of our sedentary ...
... keep it moving in the direction of the foot on each step . A good - looking leg has a straight inner line . The knee should be relaxed but firm . A surprising number of us suffer from weak knees the result no doubt of our sedentary ...
Stran 55
... Keep the two sides of the body strong , even in rest . Remember to make the feet follow the body . Never let them get left behind in a turn . At the same time , in trying to ac- quire efficiency take care not to fall into military ...
... Keep the two sides of the body strong , even in rest . Remember to make the feet follow the body . Never let them get left behind in a turn . At the same time , in trying to ac- quire efficiency take care not to fall into military ...
Stran 183
... keeping the chest still and centering the action in the muscles below the ribs . ( In your speech on the stage you will use some movement of the chest wall ; but in these exer- cises you should keep it as still as possible in order to ...
... keeping the chest still and centering the action in the muscles below the ribs . ( In your speech on the stage you will use some movement of the chest wall ; but in these exer- cises you should keep it as still as possible in order to ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
The Language of the Theatre | 16 |
Avtorske pravice | |
24 preostalih delov ni prikazanih
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