First Steps in ActingThis volume contains descriptions and exercises for basic acting forms as well as eighteen dramatic scenes and seven pantomimes for practice. |
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Page 58
... begins with authority , it finishes its initial course , or else it modulates definitely through transition into another action . There is no petering out . In this respect , good pantomime is like music . It grows , it ebbs , it pauses ...
... begins with authority , it finishes its initial course , or else it modulates definitely through transition into another action . There is no petering out . In this respect , good pantomime is like music . It grows , it ebbs , it pauses ...
Page 152
... begins to think better of things . ) ASSOLANT ( low ) . It might be done . . . Nothing's impossible . . DE GUERVILLE . So they tell me . ASSOLANT . Once a man puts his mind to a task . . . DE GUERVILLE . As I've said , you'll have all ...
... begins to think better of things . ) ASSOLANT ( low ) . It might be done . . . Nothing's impossible . . DE GUERVILLE . So they tell me . ASSOLANT . Once a man puts his mind to a task . . . DE GUERVILLE . As I've said , you'll have all ...
Page 230
... begins the introduc- tions the entire thing turns into a rhythmic chant , to an orchestral accompaniment . ) This is ... begin to rise and fall on their 230 FIRST STEPS IN ACTING.
... begins the introduc- tions the entire thing turns into a rhythmic chant , to an orchestral accompaniment . ) This is ... begin to rise and fall on their 230 FIRST STEPS IN ACTING.
Contents
CHAPTER ITHE ACTOR AS A PLAYMAKER | 1 |
CHAPTER IIBUILDING THE STAGE IMAGE | 15 |
CHAPTER IIIDRAMATIC PANTOMIME | 49 |
Copyright | |
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Common terms and phrases
accessory acting actor ANSELMO arms ASSOLANT audience Beggar on Horseback BENVOLIO body CATHLEEN CECILY chair Chapter character comedy CONSUELO COUNT PARIS DELIA door EDDIE effect EFFIE emotional EVELYN exercises expressive eyes face feel feet force forward fundamental actions fundamental movements GERALDINE give goes GUERVILLE GWENDOLEN hand head Hecuba HENRIETTA House of Connelly images imagination impulses JULIET kind kinesthetic laugh legs lift look LORNA MAURYA MERCUTIO MIKAIL mind MOTE move never NORA object ORLANDO pantomime Paths of Glory Paul Eldridge performance person play player playwright posture PRIMUS Repeat Exs response rising role ROMEO Romeo and Juliet ROSALIND sense shoulders sinking sits situation slowly sound speak spectator speech Stage Imagery standing step STEVE style suggest TATIANA theatre thing thou thought tion TOMAS tone torso TRAINMAN turn TYBALT vocal voice WADSWORTH walk window woman words