Acting with Style, 10. kötetPrentice-Hall, 1982 - 292 oldal From preface: This book is aimed at helping the actor discover what kind of play he is in--to identify the stylistic clues--and then come to a physical awareness of how it should be played. |
Részletek a könyvből
1 - 3 találat összesen 85 találatból.
6. oldal
... character he is portraying , while the intrusion of personal movements ( i.e. , those not de- manded by the mask ) separates him from it and pushes him in the direction of his personal emotions . " 8 There is no fundamental ...
... character he is portraying , while the intrusion of personal movements ( i.e. , those not de- manded by the mask ) separates him from it and pushes him in the direction of his personal emotions . " 8 There is no fundamental ...
164. oldal
... Characters do not change , and reveal subtleties or hidden depths . It is the situations that change , while the characters go right on - crashing into them , plunging through them , or bouncing off them . The character is like a ...
... Characters do not change , and reveal subtleties or hidden depths . It is the situations that change , while the characters go right on - crashing into them , plunging through them , or bouncing off them . The character is like a ...
238. oldal
... character being portrayed and the actor's total , personal commitment to the character , Brecht emphasized " otherness , " because crit- icism of the character's socioeconomic ac- tions was his focus . Stanislavski , on the other hand ...
... character being portrayed and the actor's total , personal commitment to the character , Brecht emphasized " otherness , " because crit- icism of the character's socioeconomic ac- tions was his focus . Stanislavski , on the other hand ...
Tartalomjegyzék
PLAYING TRAGEDY | 9 |
SHAKESPEARE | 48 |
PLAYING COMEDY | 99 |
Copyright | |
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Gyakori szavak és kifejezések
absurd theatre achieve acter acting action activity actor American Conservatory Theatre Artaud Artaudian theatre attitude audi audience aware Bald Soprano basic Beckett become Bertolt Brecht body Brecht century char character mask character's chorus circle clothing Coach the players comedy of manners comic commedia confrontation costume create dance demands dialectical Dionysus discover drama dynamic Elizabethan emotional ence energy epic epic theatre essential event exercise explore farce feeling focus function gesture give Greek tragedy Harpagon hieroglyph human humor images impulse intensity Ionesco language man's Marxism meaning ment Molière moral move movement nature performance physical play playwright poetic political realistic reality response reveal rhythmical rhythms ritual Royal Shakespeare Company scene sense sensibility sexual Shakespeare's simple situation slapstick social mask society space speech spine spirit stage strong structure style suggested tends theatrical tion truth verbal verse Waiting for Godot words