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 67 találatból.
8. oldal
... move down through a clenched jaw , expand and tense the chest , move to each arm in turn , and so on down the body , finishing with clenched toes . Finally , place the fingertips lightly on the diaphragm and breathe in and out deeply ...
... move down through a clenched jaw , expand and tense the chest , move to each arm in turn , and so on down the body , finishing with clenched toes . Finally , place the fingertips lightly on the diaphragm and breathe in and out deeply ...
202. oldal
... move- ment goes against the constant rhythmical flow - not heavy and oppressive , but rather quick and light ; not on the toes , like farce , but a flat - footed dexterity . Pain , decay , and age are part of the at- mosphere of the ...
... move- ment goes against the constant rhythmical flow - not heavy and oppressive , but rather quick and light ; not on the toes , like farce , but a flat - footed dexterity . Pain , decay , and age are part of the at- mosphere of the ...
210. oldal
... moved in several different ways through the inner vacuum . Blindman's Bluff . Players scatter through- out an empty space . One player is blind- folded . All move around the space until the blind man claps his hands . All freeze . The ...
... moved in several different ways through the inner vacuum . Blindman's Bluff . Players scatter through- out an empty space . One player is blind- folded . All move around the space until the blind man claps his hands . All freeze . The ...
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