A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 19
Stran 76
... units — no mat- ter where the punctuation marks may lie — and phrased in terms of these units . In this way , for instance , Lady Bracknell , in The Importance of Being Earnest , might express her feel- ings in regard to the reported ...
... units — no mat- ter where the punctuation marks may lie — and phrased in terms of these units . In this way , for instance , Lady Bracknell , in The Importance of Being Earnest , might express her feel- ings in regard to the reported ...
Stran 102
... units of action , each of which has a moment slightly " higher " than its fellows , a moment in which the struggle ... unit of conflict comes where Eustasia makes her last plea to accept coffee sweetened with her " own ickle fingers ...
... units of action , each of which has a moment slightly " higher " than its fellows , a moment in which the struggle ... unit of conflict comes where Eustasia makes her last plea to accept coffee sweetened with her " own ickle fingers ...
Stran 110
... units of dramatic action , is also true of the larger composition of these units . Every department and detail of dramatic strug- gle , contact - and - response , and climax is affected by contrast and rhythm . But dramatic form , no ...
... units of dramatic action , is also true of the larger composition of these units . Every department and detail of dramatic strug- gle , contact - and - response , and climax is affected by contrast and rhythm . But dramatic form , no ...
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