First Steps in Acting |
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Page 51
... torso may be seen clearly . In the civilized adult body , however , the central part is likely to be inhibited and the impulses representing positive and negative responses to objects are then made manifest in the action of the ...
... torso may be seen clearly . In the civilized adult body , however , the central part is likely to be inhibited and the impulses representing positive and negative responses to objects are then made manifest in the action of the ...
Page 52
... torso as being the most impor- tant member of this physical family of pantomimic agents , one should recognize his commonly much despised waist as the most important part of his torso . Within the region of an actor's body between the ...
... torso as being the most impor- tant member of this physical family of pantomimic agents , one should recognize his commonly much despised waist as the most important part of his torso . Within the region of an actor's body between the ...
Page 53
... torso and the feet , are expressive of the force of sensa- tion , and of the impulse to increase the sensation . They reach forth to touch , they react from touching . The arms , in common with the torso and the legs , are ex- pressive ...
... torso and the feet , are expressive of the force of sensa- tion , and of the impulse to increase the sensation . They reach forth to touch , they react from touching . The arms , in common with the torso and the legs , are ex- pressive ...
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