The Actor's EyePerforming Arts Journal Publications, 1984 - 202 halaman |
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Halaman 67
... given its impetus and is functioning with full force , substitutions such as these are not necessary . You need only respond within the given cir- cumstances of the play and of the scene . The important thing is allowing one's whole ...
... given its impetus and is functioning with full force , substitutions such as these are not necessary . You need only respond within the given cir- cumstances of the play and of the scene . The important thing is allowing one's whole ...
Halaman 83
... given circumstances in a play and proceeds to respond to them . I must again refer to the role of Shylock which is a classical example for me because I learned so much by doing it . Consider his first encounter with Bassanio in the ...
... given circumstances in a play and proceeds to respond to them . I must again refer to the role of Shylock which is a classical example for me because I learned so much by doing it . Consider his first encounter with Bassanio in the ...
Halaman 126
... given to you as one of the cir- cumstances of the play . To reject it is inartistic . If you believe there's no sense to what a character does , to what you do , to what you're being asked to do , then perhaps you're not the actor for ...
... given to you as one of the cir- cumstances of the play . To reject it is inartistic . If you believe there's no sense to what a character does , to what you do , to what you're being asked to do , then perhaps you're not the actor for ...
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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
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