A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 28
Stran 19
... reaction associated with anger , for instance , the heart usually beats rapidly and the respiratory mechanism is ... reaction occur , to all prac- tical purposes , at the same moment , we commonly speak of the manifestations of the ...
... reaction associated with anger , for instance , the heart usually beats rapidly and the respiratory mechanism is ... reaction occur , to all prac- tical purposes , at the same moment , we commonly speak of the manifestations of the ...
Stran 98
... Reaction First Analysis ; then Imagination . The third step is Crea- tion . The dramatic character is examined in his literary form ; he is reconstructed into the mental image of a living form ; and finally he is embodied in actual ...
... Reaction First Analysis ; then Imagination . The third step is Crea- tion . The dramatic character is examined in his literary form ; he is reconstructed into the mental image of a living form ; and finally he is embodied in actual ...
Stran 99
... reaction of a character to others in some false position in which he is placed and the reaction of others to him - as when young Marlow in She Stoops to Conquer discovers that the " maid " to whom he has been making love is really Miss ...
... reaction of a character to others in some false position in which he is placed and the reaction of others to him - as when young Marlow in She Stoops to Conquer discovers that the " maid " to whom he has been making love is really Miss ...
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