The Actor's EyePerforming Arts Journal Publications, 1984 - 202 halaman |
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Halaman 30
... Recognize this feeling in your bodies . Recognize that it is there . Ask yourself even , " how am I ? " And recognize that feeling of readiness for anything , for ac- tion , for emotion , for anything . You have no idea how interesting ...
... Recognize this feeling in your bodies . Recognize that it is there . Ask yourself even , " how am I ? " And recognize that feeling of readiness for anything , for ac- tion , for emotion , for anything . You have no idea how interesting ...
Halaman 72
... recognize that quality in himself after completing a performance . I know in my own case when I play a summer of performances of Lear , keeping track of the performances which have the greatest unity and fidelity to the concept , they ...
... recognize that quality in himself after completing a performance . I know in my own case when I play a summer of performances of Lear , keeping track of the performances which have the greatest unity and fidelity to the concept , they ...
Halaman 179
... recognize and which seems to enclose some very flowery sentiments that you can applaud : But mercy is above such sceptred sway ; It is enthroned in the hearts of kings , and all that . One must ask , however , where does it come from ...
... recognize and which seems to enclose some very flowery sentiments that you can applaud : But mercy is above such sceptred sway ; It is enthroned in the hearts of kings , and all that . One must ask , however , where does it come from ...
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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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