A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 42
Stran 55
The Theory Ad Practice of Acting Samuel Selden. 15. Normal Movement - Turning Turn freely and naturally , taking a few steps in a semi- circle if necessary to avoid awkward , cramped angles . Be careful not to spread or tangle the feet ...
The Theory Ad Practice of Acting Samuel Selden. 15. Normal Movement - Turning Turn freely and naturally , taking a few steps in a semi- circle if necessary to avoid awkward , cramped angles . Be careful not to spread or tangle the feet ...
Stran 82
... turn their halcyon beaks With every gale and vary of their masters , Knowing nought , like dogs , but following . ( Here comes the crest of Kent's emotion . He fairly shouts these last four lines . ) A plague upon your epileptic visage ...
... turn their halcyon beaks With every gale and vary of their masters , Knowing nought , like dogs , but following . ( Here comes the crest of Kent's emotion . He fairly shouts these last four lines . ) A plague upon your epileptic visage ...
Stran 113
... turn a little to one side , or down , away both from the other characters on the stage and from the audi- ence . There are times when he will find it effective to turn his back and to hide his face completely . An over - written ...
... turn a little to one side , or down , away both from the other characters on the stage and from the audi- ence . There are times when he will find it effective to turn his back and to hide his face completely . An over - written ...
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