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 158
... forward movement . In order to mark off the realization from the forward impulse , the beats were translated into oppositional physical movements . Figuratively speaking , the recoil created the potential energy for the forward movement ...
... forward movement . In order to mark off the realization from the forward impulse , the beats were translated into oppositional physical movements . Figuratively speaking , the recoil created the potential energy for the forward movement ...
Página 203
... Forward movement was not always confined to a single actor . Act I , Scene ii , of Rob Roy Macgregor2 opens with Diana and Sir Fred- erick seated at a table ; as the scene is disclosed , they rise and come forward to discuss their ...
... Forward movement was not always confined to a single actor . Act I , Scene ii , of Rob Roy Macgregor2 opens with Diana and Sir Fred- erick seated at a table ; as the scene is disclosed , they rise and come forward to discuss their ...
Página 206
Conrad Bishop. break the hold by a forward movement or counterattack . The same technique is shown in Figure 35. The line of tension between the characters is exactly parallel with the scenic plane , and each actor contributes equal ...
Conrad Bishop. break the hold by a forward movement or counterattack . The same technique is shown in Figure 35. The line of tension between the characters is exactly parallel with the scenic plane , and each actor contributes equal ...
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