A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 50
Stran 34
... move it by a com- plicated system of tugs and releases . The most interesting , and in many ways the most important , unit of the bony frame is the backbone . Made up of a series of smaller , cartilage- connected bones called vertebrae ...
... move it by a com- plicated system of tugs and releases . The most interesting , and in many ways the most important , unit of the bony frame is the backbone . Made up of a series of smaller , cartilage- connected bones called vertebrae ...
Stran 54
... move rhythmically , without jerkiness . Lift the thigh strongly ( letting the rest of the leg follow ) , place the ... move simply to push the body for- ward . Miss Anne Moore suggests that the walker , imagining him- self to be as tall ...
... move rhythmically , without jerkiness . Lift the thigh strongly ( letting the rest of the leg follow ) , place the ... move simply to push the body for- ward . Miss Anne Moore suggests that the walker , imagining him- self to be as tall ...
Stran 87
... move on his own line and remain still when another is speaking . ( b ) He should move on his own line when the move- ment demonstrates or emphasizes a point in his speech , or when the line is important and a gesture will add to its ...
... move on his own line and remain still when another is speaking . ( b ) He should move on his own line when the move- ment demonstrates or emphasizes a point in his speech , or when the line is important and a gesture will add to its ...
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