A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 19
Stran 35
... Legs The legs are expressive chiefly as the carrying agents for the body . By moving backward and forward in action - patterns we call " steps , " they extend and accentuate the manifestations , first noted in the torso , of a man's ...
... Legs The legs are expressive chiefly as the carrying agents for the body . By moving backward and forward in action - patterns we call " steps , " they extend and accentuate the manifestations , first noted in the torso , of a man's ...
Stran 36
... legs , are ex- pressive first of attractability , the impulse of a man to make or to break contact with an object . When the torso leans forward , and the legs carry forward , the arms reach forward to touch , to grasp , to draw in the ...
... legs , are ex- pressive first of attractability , the impulse of a man to make or to break contact with an object . When the torso leans forward , and the legs carry forward , the arms reach forward to touch , to grasp , to draw in the ...
Stran 54
... legs loose - jointedly from the knee . This mem- ber of the leg generally keeps its correct position when the abductor and adductor muscles at the front and rear , just above the joint , maintain a normal tension . These muscles need ...
... legs loose - jointedly from the knee . This mem- ber of the leg generally keeps its correct position when the abductor and adductor muscles at the front and rear , just above the joint , maintain a normal tension . These muscles need ...
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