The Actor's EyePerforming Arts Journal Publications, 1984 - 202 halaman |
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Halaman 55
... Prospero at the end . Now , during the rehearsals of The Tempest , I came to the scene in which I as Prospero am about to take my revenge on the visitors to the island ; and Ariel , my faithful spirit , reports that my former subjects ...
... Prospero at the end . Now , during the rehearsals of The Tempest , I came to the scene in which I as Prospero am about to take my revenge on the visitors to the island ; and Ariel , my faithful spirit , reports that my former subjects ...
Halaman 99
... Prospero , which is an intermittently quiet enough part to provide me with moments of solitude on the stage , I was free to make mental comments on my performance and on the play , or whatever commanded ➡my attention . This double life ...
... Prospero , which is an intermittently quiet enough part to provide me with moments of solitude on the stage , I was free to make mental comments on my performance and on the play , or whatever commanded ➡my attention . This double life ...
Halaman 134
... Prospero if it's not a striving for revenge ? Fundamentally , it's a striving for a better world ; but in order to achieve it , it would seem that revenge comes first . " I'm going to get my own back . " In this way he's something like ...
... Prospero if it's not a striving for revenge ? Fundamentally , it's a striving for a better world ; but in order to achieve it , it would seem that revenge comes first . " I'm going to get my own back . " In this way he's something like ...
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Istilah dan frasa umum
Action actor agitation Antonio Ariel audience Awake and Sing basic Bassanio become beginning body character characterization Claudius comes conscious Cordelia costume course Creon desire director emotion encounter essence eventually everything example excitement experience expressed eyes face fact Falstaff feeling final fundamental give given circumstances going Goneril Group Theatre Group Theatre production Hamlet happens Harold Clurman human idea imagination Juliet kind King Lear look Macbeth mean ment Merchant of Venice Michael Chekhov mind Morris Carnovsky nature necessity never Object Othello perhaps person Phoebe Brand physical play poet Polonius Portia Prospero reading realization recognize rehearsal relaxation remember respond role scene sense Shakespeare Shylock simply soliloquy speak speech Spine stage Stanislavsky Stanislavsky system stimulate suddenly suggest talking there's things tion tragic truth Twelfth Night understanding whole words
Buku ini dirujuk
Tennessee Williams and Elia Kazan: A Collaboration in the Theatre Brenda Murphy Pratinjau terbatas - 1992 |