A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 33
Stran 3
... scene . Sensing the dramatic under - character of an object or scene brings to the artist a fine satisfaction . He appreciates his power keenly to perceive what may escape other people ; but more especially he takes joy in what his ...
... scene . Sensing the dramatic under - character of an object or scene brings to the artist a fine satisfaction . He appreciates his power keenly to perceive what may escape other people ; but more especially he takes joy in what his ...
Stran 87
... scene , and the movement can be accomplished without distraction . ( d ) When a striking gesture must be used with an im- portant line , it is often best to complete the gesture before speaking or , if the gesture must be used in the ...
... scene , and the movement can be accomplished without distraction . ( d ) When a striking gesture must be used with an im- portant line , it is often best to complete the gesture before speaking or , if the gesture must be used in the ...
Stran 100
... scene and force them to react to his presence . For without reaction clearly there can be no real conflict and no ... scene to scene , not in a straight line , but in an undulating line . The emotions of the characters in the play ...
... scene and force them to react to his presence . For without reaction clearly there can be no real conflict and no ... scene to scene , not in a straight line , but in an undulating line . The emotions of the characters in the play ...
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