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 55 találatból.
34. oldal
... speech is de- scriptive . It has a strong active and emo- tional atmosphere , but does not directly communicate the emotions of the character . There is no conflict implied in the speech , no personal passion . The messenger who is ...
... speech is de- scriptive . It has a strong active and emo- tional atmosphere , but does not directly communicate the emotions of the character . There is no conflict implied in the speech , no personal passion . The messenger who is ...
93. oldal
... speech , and other ele- ments of Shakespeare's verse , it is still of primary importance that the through - line of thought be maintained . The intellectual sense of the speech must be clear to the audi- ence . This won't happen unless ...
... speech , and other ele- ments of Shakespeare's verse , it is still of primary importance that the through - line of thought be maintained . The intellectual sense of the speech must be clear to the audi- ence . This won't happen unless ...
94. oldal
... speech see what kind of pattern has been created - it will look like an abstract painting . Look at the whole effect of the speech in visual terms . See whether the shades and tones blend , or whether there are images that stand out ...
... speech see what kind of pattern has been created - it will look like an abstract painting . Look at the whole effect of the speech in visual terms . See whether the shades and tones blend , or whether there are images that stand out ...
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