The Actor's EyePerforming Arts Journal Publications, 1984 - 202 halaman |
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Halaman 24
... tion of how to make this machine function properly and creatively in the theatre . He strove for Reality , not Realism on the stage . There is a distinc- tion . Reality applies to every period of theatre : to Shakespeare as well as ...
... tion of how to make this machine function properly and creatively in the theatre . He strove for Reality , not Realism on the stage . There is a distinc- tion . Reality applies to every period of theatre : to Shakespeare as well as ...
Halaman 31
... tion between behaving and acting . So where is that image that you say was in front ... No , I didn't have any image . I wasn't working for that . Actually , if you like , I was working for the image of each person for himself . But ...
... tion between behaving and acting . So where is that image that you say was in front ... No , I didn't have any image . I wasn't working for that . Actually , if you like , I was working for the image of each person for himself . But ...
Halaman 47
... tion whether one wants to devote one's life to that . That is certainly not what I mean by Self . Charm is only an ingredient , and a very attractive one , of acting . It's confusing , getting yourself going again when you know you're ...
... tion whether one wants to devote one's life to that . That is certainly not what I mean by Self . Charm is only an ingredient , and a very attractive one , of acting . It's confusing , getting yourself going again when you know you're ...
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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 |