First Steps in Acting |
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Page 52
... Legs . The legs are expressive chiefly as the carrying agents for the body . By bending or unbending , and by moving backward and forward in action patterns we call " steps , " they extend and accentuate the manifestations , given by ...
... Legs . The legs are expressive chiefly as the carrying agents for the body . By bending or unbending , and by moving backward and forward in action patterns we call " steps , " they extend and accentuate the manifestations , given by ...
Page 53
... legs are two of the most highly ex- pressive instruments of the human body . It is to be regretted that they are so ... legs , are ex- pressive also of impulses to sink and to rise , and impulses to make or to break contact with other ...
... legs are two of the most highly ex- pressive instruments of the human body . It is to be regretted that they are so ... legs , are ex- pressive also of impulses to sink and to rise , and impulses to make or to break contact with other ...
Page 62
... legs loose - jointedly from the knee . This member of the leg gener- ally keeps its correct position when the abductor and adductor muscles at the front and rear , just above the knee joint , maintain a normal tension . These muscles ...
... legs loose - jointedly from the knee . This member of the leg gener- ally keeps its correct position when the abductor and adductor muscles at the front and rear , just above the knee joint , maintain a normal tension . These muscles ...
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