First Steps in Acting |
From inside the book
Results 1-3 of 75
Page 96
... mind which makes the dialect a natural expression . A New York East - sider speaks through tight jaws , partly because he has heard his companions talk that way , but more because his life in an environment of predatory poverty has made ...
... mind which makes the dialect a natural expression . A New York East - sider speaks through tight jaws , partly because he has heard his companions talk that way , but more because his life in an environment of predatory poverty has made ...
Page 297
... mind . Note how they stir him to action . See how he contends with those forces - how he seeks an adjustment with them . Then ask yourself these questions : ( a ) Can one find an effective dramatic scene - one which really holds one's ...
... mind . Note how they stir him to action . See how he contends with those forces - how he seeks an adjustment with them . Then ask yourself these questions : ( a ) Can one find an effective dramatic scene - one which really holds one's ...
Page 318
... mind that relaxation should at all times be thought of in terms of activity . In other words , movement for easing the muscles should be conceived and performed as a conscious release of energy - never as a thoughtless throwing- away of ...
... mind that relaxation should at all times be thought of in terms of activity . In other words , movement for easing the muscles should be conceived and performed as a conscious release of energy - never as a thoughtless throwing- away of ...
Contents
The Actor As ImageMaker | 16 |
The Actor as InstrumentalistPantomime | 49 |
The Actor as InstrumentalistSpeech | 75 |
Copyright | |
12 other sections not shown
Other editions - View all
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