A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 19
Stran 52
... wall . Now pull your feet out just far enough from the wall ( perhaps half an inch ) to bring the weight of the body over the spring of the foot , and note carefully the distance from the heels to the wall . Use this as a test position ...
... wall . Now pull your feet out just far enough from the wall ( perhaps half an inch ) to bring the weight of the body over the spring of the foot , and note carefully the distance from the heels to the wall . Use this as a test position ...
Stran 144
... wall . To do this , tuck the tip of the spine under . This act automatically tightens the ab- dominal muscles and pushes the small of the back out . Now lift the chest and the head , forcing as much of the neck against the wall as ...
... wall . To do this , tuck the tip of the spine under . This act automatically tightens the ab- dominal muscles and pushes the small of the back out . Now lift the chest and the head , forcing as much of the neck against the wall as ...
Stran 227
... wall . There is a footstool near the big chair , which has a neat , white tidy on the back of it . The walnut desk at which JOSEPH writes stands against the right wall ; a little to the right , center , is a round table with a silver ...
... wall . There is a footstool near the big chair , which has a neat , white tidy on the back of it . The walnut desk at which JOSEPH writes stands against the right wall ; a little to the right , center , is a round table with a silver ...
Vsebina
THE ART OF ACTING | 3 |
Training for Technique | 9 |
The Language of the Theatre | 16 |
Avtorske pravice | |
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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