Rehearsal: The Principles and Practice of Acting for the Stage |
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Page 344
... emotion . Next , let him consider some other features essential for artistic acting . A character will often change quickly from one emotion to another . Above all , the change must be convincing and complete . A burglar at a safe may ...
... emotion . Next , let him consider some other features essential for artistic acting . A character will often change quickly from one emotion to another . Above all , the change must be convincing and complete . A burglar at a safe may ...
Page 347
... emotions simultaneously - for blending them . This practice will greatly enhance his ability to convincingly portray a single emotion consciously and exactly . When the actor has developed his power to express feelings and emotions ...
... emotions simultaneously - for blending them . This practice will greatly enhance his ability to convincingly portray a single emotion consciously and exactly . When the actor has developed his power to express feelings and emotions ...
Page 348
... emotion . The ex- An emotion must be dressed to fit the play . pression of anger in a farce will differ greatly from that in a high tragedy . Think of a love scene in a farce and a love scene in a romantic comedy . The portrayal of love ...
... emotion . The ex- An emotion must be dressed to fit the play . pression of anger in a farce will differ greatly from that in a high tragedy . Think of a love scene in a farce and a love scene in a romantic comedy . The portrayal of love ...
Contents
INTRODUCTORY | 3 |
ELEMENTARY PRINCIPLES | 10 |
STAGE MOVEMENT | 35 |
Copyright | |
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Rehearsal: The Principles and Practice of Acting for the Stage Miriam Anna Franklin No preview available - 2012 |
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acting actor ain't arms audience Baxter Bolton Cagle Calchas chair character Cheveley Clytaemnestra comedy comes Cyrano Cyrano de Bergerac Daughter dear door emotion enters Eugene O'Neill EXERCISE expression eyes face Fanny father feel gesture girl give goes Grandfather hand hear Hedda Helen Helmer Henrik Ibsen Hialmar Iago Ideal Husband inflection Juliet laugh Laura Lehman Liliom listen look Lord Goring Lucille Madame Butterfly married mean Minnie Miss Roberts mother move movement muscles Muskat never night Nora Oscar Wilde Othello Pasadena Community Playhouse pause Perkins Peter play player Pollant rehearsal Reprinted by special Romeo and Juliet Rosalind Roxane scene Sganarelle shakes Shrdlu sits smile speak special permission speech stage stand student talk tell theater thee thing thou thought turns Uncle voice William Shakespeare Windermere woman women words