The Actor's EyePerforming Arts Journal Publications, 1984 - 202 halaman |
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Halaman 40
... person or persons in the scene , or in some cases ( very strongly in the case of the Juliet po- tion speech , for example ) the address is directly to the images that are created . Ease in talking comes to you gradually with experience ...
... person or persons in the scene , or in some cases ( very strongly in the case of the Juliet po- tion speech , for example ) the address is directly to the images that are created . Ease in talking comes to you gradually with experience ...
Halaman 69
... person , I am that person . Also the power which is added to you when you do a character like Shylock can sometimes come to you from unexpected sources . For example , the use of a stick . You can suddenly find that the stick , with ...
... person , I am that person . Also the power which is added to you when you do a character like Shylock can sometimes come to you from unexpected sources . For example , the use of a stick . You can suddenly find that the stick , with ...
Halaman 124
... person ? By the fact that I am profoundly affronted and respond with indignation , I think that makes me a better person than you are . I'm a man . ” How much of a play's theme and your Spine come to you intuitively and how much by ...
... person ? By the fact that I am profoundly affronted and respond with indignation , I think that makes me a better person than you are . I'm a man . ” How much of a play's theme and your Spine come to you intuitively and how much by ...
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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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Tennessee Williams and Elia Kazan: A Collaboration in the Theatre Brenda Murphy Pratinjau terbatas - 1992 |