Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
Dentro del libro
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Página 82
... Attitude and Gesture The " presentational " acting style upon which melodrama drew to form its own vocabulary has been comprehensively out- lined by Golding and need not be elaborated here . For conven- ience , the functions of physical ...
... Attitude and Gesture The " presentational " acting style upon which melodrama drew to form its own vocabulary has been comprehensively out- lined by Golding and need not be elaborated here . For conven- ience , the functions of physical ...
Página 86
... attitude , then , expressed through physical metaphor the direct involvement of the will with its goal . Func- tioning as the verb in the subject - object scenic structure , the attitude expressed an emotional rather than a practical ...
... attitude , then , expressed through physical metaphor the direct involvement of the will with its goal . Func- tioning as the verb in the subject - object scenic structure , the attitude expressed an emotional rather than a practical ...
Página 92
... attitude . In Figure 14 , Luke points heavenward , interpreting his line as a challenge to the villain to ask mercy of God . The line would be subject to other interpretations , but this one offers opportunity for a striking gesture ...
... attitude . In Figure 14 , Luke points heavenward , interpreting his line as a challenge to the villain to ask mercy of God . The line would be subject to other interpretations , but this one offers opportunity for a striking gesture ...
Contenido
Chapter | 18 |
DETERMINANTS OF CONCEPT | 23 |
ELEMENTS OF INDIVIDUAL TECHNIQUE | 80 |
Derechos de autor | |
Otras 4 secciones no mostradas
Términos y frases comunes
1Samuel Aaron Hill acting editions action activity actor attitude audience basic beats Bonner Bowery Theatre Brutus Castle Spectre character character's chord Claudine climactic climax comic contrast conventional cooperation Corner in Wheat critic Cruikshank Damon and Pythias dialogue Doctor of Philosophy dramatic effect elements entrance example exits expression extreme eyes Figure Floating Beacon focal focus force function genre gesture give Grindoff hand hero I:iii illusion impulse instruction-books interaction involved Isaac Pocock John Banim Kelmar London Lothair marked melo melodrama ment moral movement musical accompaniment nature nineteenth century pantomime passion patterns performance Pescara physical play position prompt note promptbook Ravina realistic rehearsal response rhythm rhythmic Rob Roy Macgregor Rugantino scene scenic plane sequence Siddons signature significant specific speech stage directions striking strong structure style sudden technique tension Theatre theatrical tion torso tragedy tragic transition typical Uncle Tom's Cabin upstage villain visual vocal voice Wilford