A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 13
Stran 34
... pantomimic value of the back and the waist.2 The human body is formed , as we know , of two things , ( 1 ) a bony supporting frame , which is not rigid , but is hinged in numerous places ; and ( 2 ) muscles which are hung on this frame ...
... pantomimic value of the back and the waist.2 The human body is formed , as we know , of two things , ( 1 ) a bony supporting frame , which is not rigid , but is hinged in numerous places ; and ( 2 ) muscles which are hung on this frame ...
Stran 41
... pantomimic and vocal form the image of the inner response . The audi- ence , perceiving the outward reaction to the outward symbol , senses imaginatively the inward contact with the inward ob- ject . Hamlet's reactions to the dark ...
... pantomimic and vocal form the image of the inner response . The audi- ence , perceiving the outward reaction to the outward symbol , senses imaginatively the inward contact with the inward ob- ject . Hamlet's reactions to the dark ...
Stran 180
... pantomimic sketches as models , the student should be able to make up and act out little stories of his own . It is not necessary , of course , that the stories be as elaborate as those included here . Whatever pantomime is composed ...
... pantomimic sketches as models , the student should be able to make up and act out little stories of his own . It is not necessary , of course , that the stories be as elaborate as those included here . Whatever pantomime is composed ...
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