First Steps in Acting |
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Page 58
... movement at an instant's notice . This state of preparedness is the basis of flexibility . The actor who is relaxed , and at the same time alert and strong , is able when stirred to point his energies in any direction . But flexibility ...
... movement at an instant's notice . This state of preparedness is the basis of flexibility . The actor who is relaxed , and at the same time alert and strong , is able when stirred to point his energies in any direction . But flexibility ...
Page 73
... movements . What remains to be investigated is compul- sive movement . Compulsive movement has already been defined as persuasive movement , movement possessing certain qualities which compel the spectator to participate in it . It is ...
... movements . What remains to be investigated is compul- sive movement . Compulsive movement has already been defined as persuasive movement , movement possessing certain qualities which compel the spectator to participate in it . It is ...
Page 79
... movement implicit in the speaker's mind at the moment of utterance is reflected in a vocal coloring which affects the sound of the word . Therefore we say , in general , that human voice - tones are connected with the sense of muscular ...
... movement implicit in the speaker's mind at the moment of utterance is reflected in a vocal coloring which affects the sound of the word . Therefore we say , in general , that human voice - tones are connected with the sense of muscular ...
Contents
The Actor As ImageMaker | 16 |
The Actor as InstrumentalistPantomime | 49 |
The Actor as InstrumentalistSpeech | 75 |
Copyright | |
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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