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 28
Página 24
... whole ; and he will add whatever incidental overtones may enhance the color of the performance . Today , the director places the actor within his proper relation to the whole event and provides solutions to problems of which the ...
... whole ; and he will add whatever incidental overtones may enhance the color of the performance . Today , the director places the actor within his proper relation to the whole event and provides solutions to problems of which the ...
Página 30
... whole thing . Both extremes were 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 ...
... whole thing . Both extremes were 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 ...
Página 32
... whole . It was serious in mood and content , but not in inten- tion . A number of techniques were developed to prevent the serious , often appalling , subject matter from overbalancing the evening's program . In its own structure ...
... whole . It was serious in mood and content , but not in inten- tion . A number of techniques were developed to prevent the serious , often appalling , subject matter from overbalancing the evening's program . In its own structure ...
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