A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 24
Stran viii
... NORMAL POSTURE AND MOVEMENT 12. Normal and Characterized Posture and Movement 13. Normal Posture - Standing 14. Normal Movement - Walking 15. Normal Movement - Turning 16. Normal Posture - Sitting 4I 42 43 · 46 47 49 · 51 53 55 55 17 ...
... NORMAL POSTURE AND MOVEMENT 12. Normal and Characterized Posture and Movement 13. Normal Posture - Standing 14. Normal Movement - Walking 15. Normal Movement - Turning 16. Normal Posture - Sitting 4I 42 43 · 46 47 49 · 51 53 55 55 17 ...
Stran 49
... NORMAL POSTURE AND MOVEMENT 12. Normal and Characterized Posture and Movement There are two types of posture and movement with which the actor must make himself familiar : ( a ) The Normal — Unparticularized conduct ( b ) The ...
... NORMAL POSTURE AND MOVEMENT 12. Normal and Characterized Posture and Movement There are two types of posture and movement with which the actor must make himself familiar : ( a ) The Normal — Unparticularized conduct ( b ) The ...
Stran 55
... Normal Posture - Sitting Sit relaxed but upright . Do not slump , unless the part calls for slumping . Remember that a strong backbone , " springy , " not stiff , makes for " smartness " on ... Normal Movement-Turning Normal Posture-Sitting.
... Normal Posture - Sitting Sit relaxed but upright . Do not slump , unless the part calls for slumping . Remember that a strong backbone , " springy , " not stiff , makes for " smartness " on ... Normal Movement-Turning Normal Posture-Sitting.
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