Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - 522 páginas |
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Página 117
... Voice and Gesture A recurrent complaint against melodramatic influence was its de - emphasis of the vocal performance . By the end of the nineteenth century , a successful entrepreneur declared that the ideal melodrama was one that a ...
... Voice and Gesture A recurrent complaint against melodramatic influence was its de - emphasis of the vocal performance . By the end of the nineteenth century , a successful entrepreneur declared that the ideal melodrama was one that a ...
Página 119
... voice should gradually rise , and the conclud- ing part of the climax be delivered with the loudest note ; consequently , if the speaker be ignorant of the compass of his voice , and begin too loud , his conclusion will be strained and ...
... voice should gradually rise , and the conclud- ing part of the climax be delivered with the loudest note ; consequently , if the speaker be ignorant of the compass of his voice , and begin too loud , his conclusion will be strained and ...
Página 120
... voice well qualified for Macbeth because its lower tones imparted a great solemnity.2 The actor Clason was pronounced unsuited to Romeo because his voice lacked " those mellifluous tones , which are so indispensable to the correct and ...
... voice well qualified for Macbeth because its lower tones imparted a great solemnity.2 The actor Clason was pronounced unsuited to Romeo because his voice lacked " those mellifluous tones , which are so indispensable to the correct and ...
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