First Steps in Acting |
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Page 28
... basic stage response includes , either by state- ment or by unmistakable suggestion , something fundamental , it will not necessarily involve all four of the actions outlined in this section . Frequently the response goes no farther ...
... basic stage response includes , either by state- ment or by unmistakable suggestion , something fundamental , it will not necessarily involve all four of the actions outlined in this section . Frequently the response goes no farther ...
Page 29
... fundamental actions run in sequence ; but frequently they move together , blended practically as a single action . All the elements of a full stage response are linked with one another like the notes in a phrase of music . When the ...
... fundamental actions run in sequence ; but frequently they move together , blended practically as a single action . All the elements of a full stage response are linked with one another like the notes in a phrase of music . When the ...
Page 30
... actions . The accessory actions , as already stated , are the learned vol- untary actions . They are typical of the ... fundamental actions . It is true that the accessory sounds and gestures form the bulk of what the actor does on the ...
... actions . The accessory actions , as already stated , are the learned vol- untary actions . They are typical of the ... fundamental actions . It is true that the accessory sounds and gestures form the bulk of what the actor does on the ...
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