A Players' Handbook: The Theory Ad Practice of ActingF. S. Crofts & Company, 1934 - 252 strani |
Iz vsebine knjige
Zadetki 1–3 od 43
Stran 24
... whole effect may at times be considerably greater than the sum of all its parts . The performers also imitate one another . Young actors most noticeably tend to pick up each other's speech and movement tempos . One or two sleepy actors ...
... whole effect may at times be considerably greater than the sum of all its parts . The performers also imitate one another . Young actors most noticeably tend to pick up each other's speech and movement tempos . One or two sleepy actors ...
Stran 39
... whole . The eyes , however , are capable of consider- able independent action , which may involve the eyeballs or the eyebrows . The movement of the eyebrows is particularly effective in giving shape to facial expression . Eyes as per ...
... whole . The eyes , however , are capable of consider- able independent action , which may involve the eyeballs or the eyebrows . The movement of the eyebrows is particularly effective in giving shape to facial expression . Eyes as per ...
Stran 93
... whole play , the actor is ready to view his own part in it . With the whole design in mind , he is ready to examine in its proper relation- ship the dramatic purpose of the particular role he is to play . If the character is a leading ...
... whole play , the actor is ready to view his own part in it . With the whole design in mind , he is ready to examine in its proper relation- ship the dramatic purpose of the particular role he is to play . If the character is a leading ...
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