A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 72
Stran 60
... voice is his most important medium . You may say that the tone an actor uses can move us more than any other thing about him . The word he speaks gives the concept , the gesture he makes exhibits a single phe- nomenon ; but the voice ...
... voice is his most important medium . You may say that the tone an actor uses can move us more than any other thing about him . The word he speaks gives the concept , the gesture he makes exhibits a single phe- nomenon ; but the voice ...
Stran 78
... voice to flip up a little on commas , and to fall on semicolons , colons , and periods . But , of course , there are at the same time many phrases and clauses which require a moderate drop at the comma , and many clauses and sentences ...
... voice to flip up a little on commas , and to fall on semicolons , colons , and periods . But , of course , there are at the same time many phrases and clauses which require a moderate drop at the comma , and many clauses and sentences ...
Stran 83
... voice , and his whole function suiting With forms to his conceit ? And all for nothing ! For Hecuba ! ( His rising voice falls a little for a con- temptuous " Hecuba , " then continues to increase its force on the next two lines ...
... voice , and his whole function suiting With forms to his conceit ? And all for nothing ! For Hecuba ! ( His rising voice falls a little for a con- temptuous " Hecuba , " then continues to increase its force on the next two lines ...
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