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 51 találatból.
30. oldal
... less of a man than we understand . He is less in the sense that he has no life outside the play . For the purposes of Greek tragedy , heroes never had indigestion or went to the bathroom . Their anger or pride was not a result of their ...
... less of a man than we understand . He is less in the sense that he has no life outside the play . For the purposes of Greek tragedy , heroes never had indigestion or went to the bathroom . Their anger or pride was not a result of their ...
64. oldal
... less mature work . They are by definition more formal and less subtle and flexible than blank vese . When used within the body of a scene or in the middle of a speech , as in Richard II , they tend to indicate a formal , ritualistic ...
... less mature work . They are by definition more formal and less subtle and flexible than blank vese . When used within the body of a scene or in the middle of a speech , as in Richard II , they tend to indicate a formal , ritualistic ...
175. oldal
... less of a physical sign given to the audience , the more difficult is the technique . The deadpan is the most extreme form of " playing against " or " doing less , " a technique that gives great focus and clarity to an action but treads ...
... less of a physical sign given to the audience , the more difficult is the technique . The deadpan is the most extreme form of " playing against " or " doing less , " a technique that gives great focus and clarity to an action but treads ...
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