Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
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Página 40
... natural sympathy being impeded by the obviously repugnant moral posi- tion of the character -- is often used as an element of suspense and is always resolved by bringing the moral position into alignment with natural sympathies through ...
... natural sympathy being impeded by the obviously repugnant moral posi- tion of the character -- is often used as an element of suspense and is always resolved by bringing the moral position into alignment with natural sympathies through ...
Página 54
Conrad Bishop. niably necessary . The melodramatic emotion was not allowed its own natural time - span or line of development ... nature was frequently neces- sary to art . Extreme transition was only one example of an 1George Dechmann ...
Conrad Bishop. niably necessary . The melodramatic emotion was not allowed its own natural time - span or line of development ... nature was frequently neces- sary to art . Extreme transition was only one example of an 1George Dechmann ...
Página 69
... Nature has given to every emotion of the mind its proper outward expression , in such a manner , that what suits ONE , cannot by any means , be accom- modated to ANOTHER . While all such guides professed to describe directly from obser ...
... Nature has given to every emotion of the mind its proper outward expression , in such a manner , that what suits ONE , cannot by any means , be accom- modated to ANOTHER . While all such guides professed to describe directly from obser ...
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