Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
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Página 30
... possible , and additional material could be marshaled in support of either . In fact , these contrasting reactions were not so far removed from one another as they appear . They arose from the common impulse to respond overtly in ...
... possible , and additional material could be marshaled in support of either . In fact , these contrasting reactions were not so far removed from one another as they appear . They arose from the common impulse to respond overtly in ...
Página 132
... possible unit within the passage . Siddons2 mentioned imitative gestures-- gestures imitating a word , such as clutching the head on the word " head , " a very common technique in eighteenth and nineteenth century low comedy -- and ...
... possible unit within the passage . Siddons2 mentioned imitative gestures-- gestures imitating a word , such as clutching the head on the word " head , " a very common technique in eighteenth and nineteenth century low comedy -- and ...
Página 199
... possible . Early melodrama shared the relative disconnection of action from environment which allowed this downstage posi- tioning , but the frequent use of the tableau -- often closed in by flats or front - drop to end a scene -- would ...
... possible . Early melodrama shared the relative disconnection of action from environment which allowed this downstage posi- tioning , but the frequent use of the tableau -- often closed in by flats or front - drop to end a scene -- would ...
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