A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 86
Stran 60
The Theory Ad Practice of Acting Samuel Selden. Chapter IV TRAINING FOR EXPRESSIVENESS - THE VOICE It is , of course ... Practice , by Stark Young , reprinted with permission of the pub- lishers , Charles Scribner's Sons . YES ( falling ...
The Theory Ad Practice of Acting Samuel Selden. Chapter IV TRAINING FOR EXPRESSIVENESS - THE VOICE It is , of course ... Practice , by Stark Young , reprinted with permission of the pub- lishers , Charles Scribner's Sons . YES ( falling ...
Stran 132
... Practice in Stage Movement The following details of stage movement are common prac- tice . The general principles which underlie their effectiveness are those discussed in the preceding section . Two persons standing in ordinary ...
... Practice in Stage Movement The following details of stage movement are common prac- tice . The general principles which underlie their effectiveness are those discussed in the preceding section . Two persons standing in ordinary ...
Stran 156
... Practice the normal standing posture described in Chap- ter III , Section 13 . Ex . 63. Practice the normal movements of walking described in Section 14 of the same chapter . Ex . 64. Practice the normal movements for turning described ...
... Practice the normal standing posture described in Chap- ter III , Section 13 . Ex . 63. Practice the normal movements of walking described in Section 14 of the same chapter . Ex . 64. Practice the normal movements for turning described ...
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