A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 29
Stran 139
... objects and people , and then reacting emotionally to them . Visu- alize the objects and people clearly before you , and respond through actual movement in your body , as fully as you can . c . Developing the Sensory Memory of Objects ...
... objects and people , and then reacting emotionally to them . Visu- alize the objects and people clearly before you , and respond through actual movement in your body , as fully as you can . c . Developing the Sensory Memory of Objects ...
Stran 140
... objects and react to them : A piece of beefsteak A bowl of vegetable soup ▾ A lemon A dish of chocolate ice cream A spoonful of castor oil A piece of pie ( flavor to be selected ) . Ex . 9. Smell the following imaginary objects and ...
... objects and react to them : A piece of beefsteak A bowl of vegetable soup ▾ A lemon A dish of chocolate ice cream A spoonful of castor oil A piece of pie ( flavor to be selected ) . Ex . 9. Smell the following imaginary objects and ...
Stran 158
... objects down from a shelf behind you and display them in a quiet manner which intimates two things - that you prize highly your wares , and that you are accustomed to dealing with fine people . Imagine that none of the objects is ...
... objects down from a shelf behind you and display them in a quiet manner which intimates two things - that you prize highly your wares , and that you are accustomed to dealing with fine people . Imagine that none of the objects is ...
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