First Steps in Acting |
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Page 53
... expressive of an in- dividual's impulse to turn into or out of himself . When inhibitory influences are absent , the hands tend to reach in the direction of the point of attention - in toward the personality , or out toward the other ...
... expressive of an in- dividual's impulse to turn into or out of himself . When inhibitory influences are absent , the hands tend to reach in the direction of the point of attention - in toward the personality , or out toward the other ...
Page 91
... expressive sound of a puls- ing , breathing , sensuously - moving body . It springs from the inner- most sources of man's primitive nature , and as such , it can often suggest , far more sensitively than any overt gesture , what are the ...
... expressive sound of a puls- ing , breathing , sensuously - moving body . It springs from the inner- most sources of man's primitive nature , and as such , it can often suggest , far more sensitively than any overt gesture , what are the ...
Page 92
... expressive possibilities wherever they occur , the actor must have a thoroughly flexible voice . Among the most important factors for tonal design are these four : ( 1 ) pitch , ( 2 ) time , ( 3 ) force , and ( 4 ) timbre . Pitch ...
... expressive possibilities wherever they occur , the actor must have a thoroughly flexible voice . Among the most important factors for tonal design are these four : ( 1 ) pitch , ( 2 ) time , ( 3 ) force , and ( 4 ) timbre . Pitch ...
Contents
The Actor As ImageMaker | 16 |
The Actor as InstrumentalistPantomime | 49 |
The Actor as InstrumentalistSpeech | 75 |
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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