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 83 találatból.
91. oldal
... give the text its distinctive flavor . Rather , underline them in your text - they are the very stuff of the style . Enjoy the classical references , the oaths of the day , the appellations and titles- " O my good Lord , " " my most ...
... give the text its distinctive flavor . Rather , underline them in your text - they are the very stuff of the style . Enjoy the classical references , the oaths of the day , the appellations and titles- " O my good Lord , " " my most ...
94. oldal
... give an actor a very strong and clear sense of the dimensions of a speech . Obviously , in speaking it is the ac- tive sense of the speech on which the actor concentrates , not the imagery as such , but being fully aware of the effect ...
... give an actor a very strong and clear sense of the dimensions of a speech . Obviously , in speaking it is the ac- tive sense of the speech on which the actor concentrates , not the imagery as such , but being fully aware of the effect ...
96. oldal
... give money B. I bring help C. I am angry D. I show that I am without E. I chastise F. I fight F. Caftige Pugno . Confide H.Impedio . G. I confide 1. Recommendo . Officioje . Juco L - Impatientia prade M - Sollte cogite H. I prevent I. I ...
... give money B. I bring help C. I am angry D. I show that I am without E. I chastise F. I fight F. Caftige Pugno . Confide H.Impedio . G. I confide 1. Recommendo . Officioje . Juco L - Impatientia prade M - Sollte cogite H. I prevent I. I ...
Tartalomjegyzék
PLAYING TRAGEDY | 9 |
SHAKESPEARE | 48 |
PLAYING COMEDY | 99 |
Copyright | |
4 további fejezet nem látható
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