Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
Dentro del libro
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Página 52
... speech and immediately preceding the entrance of the comic Blaise . It would be quite possible , of course , for Lucille to weep throughout the speech , or to begin the scene weeping , gradually gain control of herself , and conclude ...
... speech and immediately preceding the entrance of the comic Blaise . It would be quite possible , of course , for Lucille to weep throughout the speech , or to begin the scene weeping , gradually gain control of herself , and conclude ...
Página 185
... speech , and when focus returned to him , he could come immediately into the second attitude , as if the preparatory mental process had taken place during the other's speech . This , of course , was only one alternate way of playing the ...
... speech , and when focus returned to him , he could come immediately into the second attitude , as if the preparatory mental process had taken place during the other's speech . This , of course , was only one alternate way of playing the ...
Página 219
... speech of Werner , a messenger had to enter from the back of the stage , come quickly down to him , and announce the arrival of a person . His coming down and uttering the line was to be done at a par- ticular half line of Werner's speech ...
... speech of Werner , a messenger had to enter from the back of the stage , come quickly down to him , and announce the arrival of a person . His coming down and uttering the line was to be done at a par- ticular half line of Werner's speech ...
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