A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
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Zadetki 1–3 od 36
Stran 141
... Walk barefoot on a cold , pebbly beach . Then in a warm , muddy - bottomed stream . The water in the stream comes to your knees . Ex . 17. You are seated at breakfast . Read the morning paper carefully . See clearly several items of ...
... Walk barefoot on a cold , pebbly beach . Then in a warm , muddy - bottomed stream . The water in the stream comes to your knees . Ex . 17. You are seated at breakfast . Read the morning paper carefully . See clearly several items of ...
Stran 157
... Walk forward and extend your arm as if you were receiving from the hand of the official the medal or document which signifies your new honor , bow slightly , straighten , turn , and walk quietly back to your first position . Show by ...
... Walk forward and extend your arm as if you were receiving from the hand of the official the medal or document which signifies your new honor , bow slightly , straighten , turn , and walk quietly back to your first position . Show by ...
Stran 158
... walk . Take several valuable objects down from a shelf behind you and display them in a quiet manner which intimates two things - that you prize highly your wares , and that you are accustomed to dealing with fine people . Imagine that ...
... walk . Take several valuable objects down from a shelf behind you and display them in a quiet manner which intimates two things - that you prize highly your wares , and that you are accustomed to dealing with fine people . Imagine that ...
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