Rehearsal: The Principles and Practice of Acting for the Stage |
From inside the book
Results 1-3 of 70
Page 166
... speech . Casual Dialogue We are constantly shifting the direction of our speech toward and to either side of those with whom we con- verse . On the stage , then , we should direct speech some- times to right , sometimes left , above ...
... speech . Casual Dialogue We are constantly shifting the direction of our speech toward and to either side of those with whom we con- verse . On the stage , then , we should direct speech some- times to right , sometimes left , above ...
Page 183
... speech . Speech rhythm must be broken , irregular , first hurrying on , then slowing down , even halting , the next moment pausing ; but it is always varied . The thought involved decides the rhythm . We may say that the gen- eral pace ...
... speech . Speech rhythm must be broken , irregular , first hurrying on , then slowing down , even halting , the next moment pausing ; but it is always varied . The thought involved decides the rhythm . We may say that the gen- eral pace ...
Page 184
... speech . • The first thing to consider , then , is length of sounds . Another element that speeds or retards our speech is the short time between groups of words . We divide all of our speech into thought - groups or phrases with very ...
... speech . • The first thing to consider , then , is length of sounds . Another element that speeds or retards our speech is the short time between groups of words . We divide all of our speech into thought - groups or phrases with very ...
Contents
INTRODUCTORY | 3 |
ELEMENTARY PRINCIPLES | 10 |
STAGE MOVEMENT | 35 |
Copyright | |
22 other sections not shown
Other editions - View all
Rehearsal: The Principles and Practice of Acting for the Stage Miriam Anna Franklin No preview available - 2012 |
Common terms and phrases
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