First Steps in Acting |
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Page 51
... body , the child's , for instance , this movement of the torso may be seen clearly . In the civilized adult body , however , the central part is likely to be inhibited and the impulses representing positive and negative responses to ...
... body , the child's , for instance , this movement of the torso may be seen clearly . In the civilized adult body , however , the central part is likely to be inhibited and the impulses representing positive and negative responses to ...
Page 62
... body for- ward , shifting the weight smoothly , without throwing it ; lift the other leg , and continue . Give attention also to the upper joints of the body . Keep the body moving straight forward , not letting it shift from side to ...
... body for- ward , shifting the weight smoothly , without throwing it ; lift the other leg , and continue . Give attention also to the upper joints of the body . Keep the body moving straight forward , not letting it shift from side to ...
Page 318
... body swinging deeply over the slow and continuous walk , with only enough tension to maintain the walk and to keep the body from slipping to the floor . Now reverse the process upward . Without employ- ing too much conscious effort ...
... body swinging deeply over the slow and continuous walk , with only enough tension to maintain the walk and to keep the body from slipping to the floor . Now reverse the process upward . Without employ- ing too much conscious effort ...
Contents
The Actor As ImageMaker | 16 |
The Actor as InstrumentalistPantomime | 49 |
The Actor as InstrumentalistSpeech | 75 |
Copyright | |
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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