First Steps in Acting |
From inside the book
Results 1-3 of 32
Page 59
... begins , however , with his training for normal conduct . Normal conduct is the standard . De- partures from it must be made with care . In the playing of a " character " role , even a decidedly eccentric one , the performer who adapts ...
... begins , however , with his training for normal conduct . Normal conduct is the standard . De- partures from it must be made with care . In the playing of a " character " role , even a decidedly eccentric one , the performer who adapts ...
Page 319
... begin with the extremities of your feet - at the toes themselves -isolating them visually in your mind and consciously releas- ing all feeling of energy in them . Continue , bit by bit , up the entire length of the body , taking in ...
... begin with the extremities of your feet - at the toes themselves -isolating them visually in your mind and consciously releas- ing all feeling of energy in them . Continue , bit by bit , up the entire length of the body , taking in ...
Page 326
... begin to roll the weight of the body forward over the hips toward the knees , with the torso erect , at the same time pressing down with the feet and lift- ing in the torso . Do not begin this too abruptly or you will find the feet ...
... begin to roll the weight of the body forward over the hips toward the knees , with the torso erect , at the same time pressing down with the feet and lift- ing in the torso . Do not begin this too abruptly or you will find the feet ...
Contents
The Actor As ImageMaker | 16 |
The Actor as InstrumentalistPantomime | 49 |
The Actor as InstrumentalistSpeech | 75 |
Copyright | |
12 other sections not shown
Other editions - View all
Common terms and phrases
acting actor ALGERNON AMANDA arms audience BENVOLIO BIFF BLAIR body CALIBAN CASSIUS CATHLEEN CECILY chair Chapter character CHRISTINE door dramatic E. Y. Harburg EBEN effect Eugene O'Neill exercises expressive eyes face feeling feet FINIAN Finian's Rainbow fundamental actions give Glass Menagerie GLETKIN goes GWENDOLEN hand head HENRIETTA HORACE imagery imagination impulses JACK JULIET kind kinesthetic laugh LAURA LAVINIA legs lift look MAURYA MERCUTIO MIKAIL mind MISS DYER Mister Roberts move movement never NORA object OLD WOMAN pantomime Paul Eldridge performance person play player posture PRIMUS REGINA response rising role ROMEO Romeo and Juliet RUBASHOV scene sense sits slowly sound speak spectator speech stage standing step STEPHANO STEVE TATIANA tell Tennessee Williams theatre thing Thomas Heggen thou thought tion tonal tone torso TRINCULO turns TYBALT voice walk words young