Rehearsal: The Principles and Practice of Acting for the Stage |
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Page 53
... scene climactically ; or it may be used , through the crossing backward and forward of a number of individuals , merely to fill the scene with comings and goings . 3. One of the greatest building - up aids that movement can offer ...
... scene climactically ; or it may be used , through the crossing backward and forward of a number of individuals , merely to fill the scene with comings and goings . 3. One of the greatest building - up aids that movement can offer ...
Page 88
... scene will make the sadness in another seem sadder . A mass scene full of con- fusion will make a quiet scene following it more beautiful . Sometimes one scene must be underplayed in order to play up another that is more significant . A ...
... scene will make the sadness in another seem sadder . A mass scene full of con- fusion will make a quiet scene following it more beautiful . Sometimes one scene must be underplayed in order to play up another that is more significant . A ...
Page 292
... scene , they should be far enough apart to be able to come closer together as the scene progresses . Only at the end of it should they be close together . The embrace is usually the climax and should come only at the end of the scene ...
... scene , they should be far enough apart to be able to come closer together as the scene progresses . Only at the end of it should they be close together . The embrace is usually the climax and should come only at the end of the scene ...
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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 anger arms attention audience BAXTER become BLUNTSCHLI body CAGLE chair character CHEVELEY CHILTERN CLYTAEMNESTRA comedy comes CYRANO dear door DRINA DRUMMLE DUNSTAN emotion enters express eyes face feel gesture girl give goes GRANDFATHER GRAZIA hand head hear HELEN HELMER IAGO Ideal Husband inflections keep LADY Lady Windermere's Fan laugh LAURA light Liliom lines listening look LORD GORING MADAME BUTTERFLY married MATT Maxwell Anderson MIRIAMNE MISS PERKINS MISS ROBERTS Moss Hart mother move movement muscles never NORA Oscar Wilde OTHELLO PAULA pause person play player RAINA rehearsal Reprinted by special ROSALIND ROXANE scene shoulder Sidney Kingsley sits smile speak special permission speech stage stand Star Wagon steps talk tell theater thing thou thought THROTTLEBOTTOM tone turn upstage voice walk WINDERMERE woman WOMEN words