Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
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Página 50
... principle was reiterated throughout the nineteenth century , though there was also frequent satirical comment on the utterly Craig , op . cit . , p . 59 . " unnatural manner of information - giving in melodrama necessi- -50-
... principle was reiterated throughout the nineteenth century , though there was also frequent satirical comment on the utterly Craig , op . cit . , p . 59 . " unnatural manner of information - giving in melodrama necessi- -50-
Página 140
... principle was not inviolable , but it was obviously an exceptional mode of action and derived special force from contrast with the expected norm . A movement , then , might coincide exactly with a line , or , if it were a movement ...
... principle was not inviolable , but it was obviously an exceptional mode of action and derived special force from contrast with the expected norm . A movement , then , might coincide exactly with a line , or , if it were a movement ...
Página 180
... principle of alternate focus , Of major importance in both tragic and melodramatic performance was the rendering of sequences of emotional tran- sition . In discussing the tragic transition , Siddons quoted Hume's comparison of the ...
... principle of alternate focus , Of major importance in both tragic and melodramatic performance was the rendering of sequences of emotional tran- sition . In discussing the tragic transition , Siddons quoted Hume's comparison of the ...
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