Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
Dentro del libro
Resultados 1-3 de 26
Página 55
... patterns . As in a familiar musical phrase , it was necessary only to strike the first few notes and other notes followed of their own accord . The audience could " hum along " with the pattern . Thus an illusion of cause was created ...
... patterns . As in a familiar musical phrase , it was necessary only to strike the first few notes and other notes followed of their own accord . The audience could " hum along " with the pattern . Thus an illusion of cause was created ...
Página 150
... patterns of the melodramatic sequence , and conversely , the ways in which the elements themselves were affected by these patterns . The rhythmic sequence was both a means of texturing the presentation and giving an added stimulus to ...
... patterns of the melodramatic sequence , and conversely , the ways in which the elements themselves were affected by these patterns . The rhythmic sequence was both a means of texturing the presentation and giving an added stimulus to ...
Página 188
... patterns of interdependent action which had to be followed in order to achieve an integrated performance , and the trained actor was expected to be able to fall into these patterns easily . Any awkwardness would have been the result of ...
... patterns of interdependent action which had to be followed in order to achieve an integrated performance , and the trained actor was expected to be able to fall into these patterns easily . Any awkwardness would have been the result of ...
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