A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 52
Stran 72
... TONE PRODUCTION 5. Expressive Tone and the Four Factors in Its Effect The expressive quality of a line of dialogue lies , as was pointed out at the beginning of this chapter , not in the bare words themselves , but in the " tones " that ...
... TONE PRODUCTION 5. Expressive Tone and the Four Factors in Its Effect The expressive quality of a line of dialogue lies , as was pointed out at the beginning of this chapter , not in the bare words themselves , but in the " tones " that ...
Stran 74
... Tone Any such experiment as the making of a plot like the one outlined above should suggest to the actor the importance of accuracy and flexibility in tone production , and should give him some hint as to how he might go about the ...
... Tone Any such experiment as the making of a plot like the one outlined above should suggest to the actor the importance of accuracy and flexibility in tone production , and should give him some hint as to how he might go about the ...
Stran 193
... tone in ac- cordance with the principles for effective speech described in Chapters IV and V. When he reads the pieces included under Selections for Brilliance of Tone , he should direct his chief ... TONE SELECTIONS FOR RICHNESS OF TONE.
... tone in ac- cordance with the principles for effective speech described in Chapters IV and V. When he reads the pieces included under Selections for Brilliance of Tone , he should direct his chief ... TONE SELECTIONS FOR RICHNESS OF TONE.
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