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 60 találatból.
39. oldal
... example - and explore it phys- ically until you discover some configuration of the body that communicates your sense of the quality . Work for strong gestures and total involvement of the body ; avoid small detail . Once you have ...
... example - and explore it phys- ically until you discover some configuration of the body that communicates your sense of the quality . Work for strong gestures and total involvement of the body ; avoid small detail . Once you have ...
64. oldal
... example , ends with a couplet spoken by Macbeth : Away , and mock the time with fairest show . False face must hide what the false heart doth know . Couplets such as this sum up or emphasize important points of action , give a strong ...
... example , ends with a couplet spoken by Macbeth : Away , and mock the time with fairest show . False face must hide what the false heart doth know . Couplets such as this sum up or emphasize important points of action , give a strong ...
223. oldal
... Example . The Exception and the Rule , being geared entirely toward didactic ends , is a highly refined example of the dialectical structure of Brecht's work , to the exclusion of the more sweeping , poetic qualities of his later ...
... Example . The Exception and the Rule , being geared entirely toward didactic ends , is a highly refined example of the dialectical structure of Brecht's work , to the exclusion of the more sweeping , poetic qualities of his later ...
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