A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 17
Stran 66
... lower abdominal muscles are distinct . While the lower abdominal muscles ( in co - operation with the gluteal muscles ) should remain relatively quiet and firm to maintain correct posture in the trunk ( including a flat lower abdomen ) ...
... lower abdominal muscles are distinct . While the lower abdominal muscles ( in co - operation with the gluteal muscles ) should remain relatively quiet and firm to maintain correct posture in the trunk ( including a flat lower abdomen ) ...
Stran 155
... lower and still lower . Hold your posture a moment . Then think of the most joyous moment in your life . Sense the pleasurable tingle in the region of your stomach , note how the rate of your breathing changes , and how the muscles all ...
... lower and still lower . Hold your posture a moment . Then think of the most joyous moment in your life . Sense the pleasurable tingle in the region of your stomach , note how the rate of your breathing changes , and how the muscles all ...
Stran 184
... lower front teeth . č ā ǎ OB : ŏ aw 10 ة - - as in " eve " .... and in " field , " " beam , " " machine " as in " in " .... and in " build , " " women , " " busy " as in " ale " ..... and in “ maid , ” “ weigh , " " break " - as in ...
... lower front teeth . č ā ǎ OB : ŏ aw 10 ة - - as in " eve " .... and in " field , " " beam , " " machine " as in " in " .... and in " build , " " women , " " busy " as in " ale " ..... and in “ maid , ” “ weigh , " " break " - as in ...
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