A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 41
Stran 76
... thought is accented ; therefore the speech which expresses thought must be accented . Four out of five inexperienced stage players in the first months of their apprenticeship attempt to deliver the lines of drama as though they were ...
... thought is accented ; therefore the speech which expresses thought must be accented . Four out of five inexperienced stage players in the first months of their apprenticeship attempt to deliver the lines of drama as though they were ...
Stran 78
... thought , or group of thoughts . Short pauses are generally used ( except in very fast dialogue ) to set off each phrase — that is , each unit idea - in a sentence . I should say sincerity , / a great , deep , genuine sincerity , / is ...
... thought , or group of thoughts . Short pauses are generally used ( except in very fast dialogue ) to set off each phrase — that is , each unit idea - in a sentence . I should say sincerity , / a great , deep , genuine sincerity , / is ...
Stran 109
... thought , feeling , and action peculiarly his own . For the portrayal of the stage personality the normal kind of ... thought is rhyth- mic . When the brain and the body are properly co - ordinated in speech , the rhythmical accent and ...
... thought , feeling , and action peculiarly his own . For the portrayal of the stage personality the normal kind of ... thought is rhyth- mic . When the brain and the body are properly co - ordinated in speech , the rhythmical accent and ...
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