Rehearsal: The Principles and Practice of Acting for the Stage |
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Page 50
... scenes is difficult to perfect . The director works out his plan in general , but usually he doesn't plan every movement for every character all the way through a scene . It is the player's job to cooperate patiently and rehearse this ...
... scenes is difficult to perfect . The director works out his plan in general , but usually he doesn't plan every movement for every character all the way through a scene . It is the player's job to cooperate patiently and rehearse this ...
Page 296
... scene progresses . Only at the end of it should they be together . The embrace is usually the climax and should come only at the end of the scene . In early rehearsals , the " clinch " is not usually practiced . When the play is being ...
... scene progresses . Only at the end of it should they be together . The embrace is usually the climax and should come only at the end of the scene . In early rehearsals , the " clinch " is not usually practiced . When the play is being ...
Page 297
... scene . Much can be done to make a love scene highly effective if players both in and out of the scene will center all thought and interest on building it , rather than making it a point for amusement and embarrassment . The length of ...
... scene . Much can be done to make a love scene highly effective if players both in and out of the scene will center all thought and interest on building it , rather than making it a point for amusement and embarrassment . The length of ...
Contents
THE PLAYER ACQUIRES HABITS | 1 |
Stage traditions11 | 11 |
Photographs | 28 |
Copyright | |
9 other sections not shown
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Rehearsal: The Principles and Practice of Acting for the Stage Miriam Anna Franklin No preview available - 2012 |
Common terms and phrases
acting action actor ad lib ain't ANNA arms audience AUNT AWAKE AND SING BAXTER BLITHE SPIRIT chair character CHARLES CHRIS Clifford Odets comedy comes dialect door dress DRUMMLE DUCKY Elvira EMMA emotion Eugene O'Neill EXERCISE eyes face father feeling FERGUSON FITCHEL gesture girl give goes GRANDPA GRAY hands head hear hold IAGO inflections IRMA JACKIE JAKE James-Lange theory keep KOLENKHOV LADY TEAZLE laugh LAURA LAUREY lines LIPPO listen LIZA look MADAME ARCATI MADAME BUTTERFLY MAGGIE MAMA MARGARET MARGINAL REMINDERS MAURRANT Maxwell Anderson mean Meenie MIRIAMNE MISS ROBERTS move movement never night Noel Coward onstage OTHELLO pause picks play player rehearsal Reprinted by special rising ROCKETT ROSALIND Ruth scene speak speech stage stand SUSIE talk tell tempo theater thing thought tion tone turn VINNIE voice walk Washburn University What's WHITESIDE window words