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 111
... eye direction : You must lift up or cast down the eyes , according with the nature of the things you speak of . If of heaven , your eyes are naturally lifted up ; if of earth or heil , or things terrestrial they are naturally cast down : ...
... eye direction : You must lift up or cast down the eyes , according with the nature of the things you speak of . If of heaven , your eyes are naturally lifted up ; if of earth or heil , or things terrestrial they are naturally cast down : ...
Página 112
... Eye movement had a gestural quality . Depending on the frequency and direction of movement , the mind was shown to be either settled or unsettled . A passion was given virtuous or evil overtones by the direction of the eyes upward or ...
... Eye movement had a gestural quality . Depending on the frequency and direction of movement , the mind was shown to be either settled or unsettled . A passion was given virtuous or evil overtones by the direction of the eyes upward or ...
Página 115
... eye contact was made with another actor : the actor would , in effect , be looking out of the corners of his eyes , pro- ducing a directional contrast between head and eyes that would provide a more vivid visual effect . This effect is ...
... eye contact was made with another actor : the actor would , in effect , be looking out of the corners of his eyes , pro- ducing a directional contrast between head and eyes that would provide a more vivid visual effect . This effect is ...
Contenido
Chapter | 12 |
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 character character's chord Claudine climax comic contrast conventional cooperation Corner in Wheat critic Cruikshank Damon and Pythias dialogue Doctor of Philosophy dramatic effect elements emotional entrance example exits expression extreme eyes Figure Floating Beacon focus forceful function genre gesture Grindoff hand hero heroine I:iii illusion impulse instruction-books intense interaction involved Isaac Pocock John Banim Kelmar London Lothair marked melo melodrama ment moral movement muscles musical accompaniment nature nineteenth century pantomime passion patterns performance Pescara physical play position prompt note promptbook Ravina realistic rehearsal response rhythm rhythmic Rugantino scene scenic plane seizes sequence Siddons signature significant specific speech stage directions strong structure style sudden suspenseful music technique tension Theatre theatrical thou tion tone torso tragic transition typical Uncle Tom's Cabin upstage villain visual vocal voice Wilford