Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English MelodramaStanford University, 1966 - Всего страниц: 522 |
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Стр. 40
... position . In the conventional framework , there are set places to be filled , and the type - characters are assigned to them . The position of hero and villain are obvious , and secondary characters range between these poles and ...
... position . In the conventional framework , there are set places to be filled , and the type - characters are assigned to them . The position of hero and villain are obvious , and secondary characters range between these poles and ...
Стр. 88
... position to demonstrate side involvement while the basic foot position allowed the torso to maintain its frontality . Full visibility was given the face and the long , forceful lines of the arms . Even though a direct , prac- tical ...
... position to demonstrate side involvement while the basic foot position allowed the torso to maintain its frontality . Full visibility was given the face and the long , forceful lines of the arms . Even though a direct , prac- tical ...
Стр. 115
... position of the face would have severely restricted the effect of horizontal eye movement , which was extremely impor- tant . The three - quarter position of the face also had an advantage when direct eye contact was made with another ...
... position of the face would have severely restricted the effect of horizontal eye movement , which was extremely impor- tant . The three - quarter position of the face also had an advantage when direct eye contact was made with another ...
Содержание
Chapter | 12 |
DETERMINANTS OF CONCEPT | 23 |
ELEMENTS OF INDIVIDUAL TECHNIQUE | 80 |
Авторские права | |
Не показаны другие разделы: 4
Часто встречающиеся слова и выражения
1Samuel Aaron Hill acting editions action activity actor attitude audience basic beats Bonner Bowery Theatre Brutus character character's chord Claudine climax comic contrast conventional cooperation Corner in Wheat critic Cruikshank Damon and Pythias dialogue Doctor of Philosophy dramatic effect elements emotional entrance example exits expression extreme eyes Figure Floating Beacon focus forceful function genre gesture Grindoff hand hero heroine I:iii illusion impulse instruction-books intense interaction involved Isaac Pocock John Banim Kelmar London Lothair marked melo melodrama ment moral movement muscles musical accompaniment nature nineteenth century pantomime passion patterns performance Pescara physical play position prompt note promptbook Ravina realistic rehearsal response rhythm rhythmic Rugantino scene scenic plane seizes sequence Siddons signature significant specific speech stage directions strong structure style sudden suspenseful music technique tension Theatre theatrical thou tion tone torso tragic transition typical Uncle Tom's Cabin upstage villain visual vocal voice Wilford