Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
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Página 110
... face was to express a general sense of the character . The Thespian Preceptor required that the char- acter " must be delineated in the face , which , as well as the action of the body , must accord with every speech . " The double ...
... face was to express a general sense of the character . The Thespian Preceptor required that the char- acter " must be delineated in the face , which , as well as the action of the body , must accord with every speech . " The double ...
Página 114
... face was established : In turning your face to the audience , keep your head so elevated , that your eyes may rest upon the second tier of boxes ; this will create in you the habit of 1 Theatrical Speaker , op . cit . , pp . 8-34 ...
... face was established : In turning your face to the audience , keep your head so elevated , that your eyes may rest upon the second tier of boxes ; this will create in you the habit of 1 Theatrical Speaker , op . cit . , pp . 8-34 ...
Página 115
... face to the audience.2 A profile position of the face would have severely restricted the effect of horizontal eye movement , which was extremely impor- tant . The three - quarter position of the face also had an advantage when direct ...
... face to the audience.2 A profile position of the face would have severely restricted the effect of horizontal eye movement , which was extremely impor- tant . The three - quarter position of the face also had an advantage when direct ...
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