A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 47
Stran 10
... never dramatic . The effective force in the theatre has always been , and will always be , emotion . But hid- den thought must guide the projection of that emotion in or- der that emotion may exert to the fullest its warm , rich influ ...
... never dramatic . The effective force in the theatre has always been , and will always be , emotion . But hid- den thought must guide the projection of that emotion in or- der that emotion may exert to the fullest its warm , rich influ ...
Stran 55
... never to slump on the weight - bearing side . 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 ...
... never to slump on the weight - bearing side . 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 ...
Stran 116
... never must they be obtruded upon the attention of the audience which views the completed work . What an audience desires is to be affected . How that is to be achieved it does not care . The playwright , the director , the actors , the ...
... never must they be obtruded upon the attention of the audience which views the completed work . What an audience desires is to be affected . How that is to be achieved it does not care . The playwright , the director , the actors , the ...
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