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 43 találatból.
33. oldal
... direct force of the action being played out . The emotion , the form , and the action are one . Whereas powerful emotion and direct in- volvement with the action are dominating features of the protagonist's speeches , the messenger or ...
... direct force of the action being played out . The emotion , the form , and the action are one . Whereas powerful emotion and direct in- volvement with the action are dominating features of the protagonist's speeches , the messenger or ...
78. oldal
... direct form of soliloquy is that given to the audience . Iago frequently does this , most obviously , perhaps , with his " And what's he then that says I play the villain , " ( Othello , Act II , Scene iii ) . Richard III also enjoys ...
... direct form of soliloquy is that given to the audience . Iago frequently does this , most obviously , perhaps , with his " And what's he then that says I play the villain , " ( Othello , Act II , Scene iii ) . Richard III also enjoys ...
84. oldal
... direct , easy , ironic prose . This fits both his character and his situation as Othello's " ancient " -a bluff , " honest " soldier , with no pretentions to nobility , who has made his way through the ranks . He has a good deal of direct ...
... direct , easy , ironic prose . This fits both his character and his situation as Othello's " ancient " -a bluff , " honest " soldier , with no pretentions to nobility , who has made his way through the ranks . He has a good deal of direct ...
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