A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 47
Stran 45
... mind . In fact , it is impossible to have a so - called “ trained body " without mind , for it is obvious that all theatric action , to possess any form whatsoever , must be integrated and given direction by thought . Leland Powers used ...
... mind . In fact , it is impossible to have a so - called “ trained body " without mind , for it is obvious that all theatric action , to possess any form whatsoever , must be integrated and given direction by thought . Leland Powers used ...
Stran 155
... mind that series of events in your past which led to a moment , or moments , in your life when you felt most ashamed of yourself . Lower yourself into a chair with your face turned away from the audience , and then try , through the ...
... mind that series of events in your past which led to a moment , or moments , in your life when you felt most ashamed of yourself . Lower yourself into a chair with your face turned away from the audience , and then try , through the ...
Stran 201
... Mind not the timid - mind not the weeper or prayer , Mind not the old man beseeching the young man , Let not the child's voice be heard , nor the mother's entreaties , Make even the trestles to shake the dead , where they lie awaiting ...
... Mind not the timid - mind not the weeper or prayer , Mind not the old man beseeching the young man , Let not the child's voice be heard , nor the mother's entreaties , Make even the trestles to shake the dead , where they lie awaiting ...
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