A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 27
Stran 17
... tion ) ( 2 ) External body movement - posturing and ges- turing ( 3 ) Voice - tones - the sounds of the active body A distinction is made here between the one characteristically mental medium and the two characteristically physical ...
... tion ) ( 2 ) External body movement - posturing and ges- turing ( 3 ) Voice - tones - the sounds of the active body A distinction is made here between the one characteristically mental medium and the two characteristically physical ...
Stran 19
... tion . " In other words , the person " stirs himself up " ( sets in action his emotive mechanism ) through imagination . The usual process obtains : stimulus ( inward now , instead of out- ward ) , physical change , awareness , emotion ...
... tion . " In other words , the person " stirs himself up " ( sets in action his emotive mechanism ) through imagination . The usual process obtains : stimulus ( inward now , instead of out- ward ) , physical change , awareness , emotion ...
Stran 113
... tion of the audience . Full statement commonly destroys im- agination . Usually even a " frail little grandmother , " who allows tears to splash down her cheeks without effort of con- trol , is not affecting . Nothing in the whole realm ...
... tion of the audience . Full statement commonly destroys im- agination . Usually even a " frail little grandmother , " who allows tears to splash down her cheeks without effort of con- trol , is not affecting . Nothing in the whole realm ...
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