First Steps in Acting |
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Page vii
... living it with all his might and main , would automatically make a living performance . Precisely here , of course , lay his error . Living is the source of acting ; but living itself is not acting . In a stage presentation of a child ...
... living it with all his might and main , would automatically make a living performance . Precisely here , of course , lay his error . Living is the source of acting ; but living itself is not acting . In a stage presentation of a child ...
Page 57
... living requires him to spend much of his time in a seated posture . A brisk walk , with the head erect and the arms swinging naturally , keeps the vital waist muscles toned up and tends to awaken all the other parts of the body as well ...
... living requires him to spend much of his time in a seated posture . A brisk walk , with the head erect and the arms swinging naturally , keeps the vital waist muscles toned up and tends to awaken all the other parts of the body as well ...
Page 196
... living units in St. Louis . It is entered by a fire escape from an alley on the right ; the landing and the steps descending from it are included in the set . In the living room is a sofa . The time is the 1930's . THE CHARACTERS ...
... living units in St. Louis . It is entered by a fire escape from an alley on the right ; the landing and the steps descending from it are included in the set . In the living room is a sofa . The time is the 1930's . THE CHARACTERS ...
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