Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
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Página 54
... frequent condemnations of the unnaturalness of such processes as emotional transitions as they were performed in the ... frequently neces- sary to art . Extreme transition was only one example of an 1George Dechmann , Histrions and the ...
... frequent condemnations of the unnaturalness of such processes as emotional transitions as they were performed in the ... frequently neces- sary to art . Extreme transition was only one example of an 1George Dechmann , Histrions and the ...
Página 119
... frequently lost . This should be carefully avoided , particularly in irascible and tyrannic parts . While sustained ranting and bellowing were frequently associated with melodrama , it is easy to exaggerate the noise and uproar of ...
... frequently lost . This should be carefully avoided , particularly in irascible and tyrannic parts . While sustained ranting and bellowing were frequently associated with melodrama , it is easy to exaggerate the noise and uproar of ...
Página 136
... frequent starting , fainting , staggering , & c . , a single awkward action ; or ridiculous position , is very liable ... Frequently , two characters took their places and remained anchored for the entirety of the scene , and even when ...
... frequent starting , fainting , staggering , & c . , a single awkward action ; or ridiculous position , is very liable ... Frequently , two characters took their places and remained anchored for the entirety of the scene , and even when ...
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