A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 32
Stran 37
... observed , all the way up the back , and functions both as a pivotal support and as a mainspring for the actions of the torso . The spine does not terminate at the upper edge of the torso , but continues on through the neck . The head ...
... observed , all the way up the back , and functions both as a pivotal support and as a mainspring for the actions of the torso . The spine does not terminate at the upper edge of the torso , but continues on through the neck . The head ...
Stran 46
... observed is awkward and indirect , and fails to accomplish its objective without the ap- pearance of " hard work , " the attention of the spectator is distracted and wasted . By the principle of Empathy ( dis- cussed in the preceding ...
... observed is awkward and indirect , and fails to accomplish its objective without the ap- pearance of " hard work , " the attention of the spectator is distracted and wasted . By the principle of Empathy ( dis- cussed in the preceding ...
Stran 82
... observed more often in the smaller vocal figures , like the word and phrase stresses indicated in the last section . Climax is seen in the larger figures which extend through a whole speech or group of speeches . Accent may be ...
... observed more often in the smaller vocal figures , like the word and phrase stresses indicated in the last section . Climax is seen in the larger figures which extend through a whole speech or group of speeches . Accent may be ...
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