The Art of ActingF. F. Mackay, 1913 - 295 من الصفحات |
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الصفحة 18
... pose of the body , a tone of the voice , a glance of the eye , a quiver of the lip , and it is gone ; but in its passage it touches the passion and moves every sensation from joy to despair ; and 18 The Art of Acting.
... pose of the body , a tone of the voice , a glance of the eye , a quiver of the lip , and it is gone ; but in its passage it touches the passion and moves every sensation from joy to despair ; and 18 The Art of Acting.
الصفحة 19
Frank Findley Mackay. and moves every sensation from joy to despair ; and , more than any other art , it makes man for- get his selfishness to laugh or weep with the joys or sorrows of his fellow - men . Shakespeare says : " Reputation ...
Frank Findley Mackay. and moves every sensation from joy to despair ; and , more than any other art , it makes man for- get his selfishness to laugh or weep with the joys or sorrows of his fellow - men . Shakespeare says : " Reputation ...
الصفحة 33
... sensation of the emotion of the dramatic character represented , but a likeness of the emo- tion in accordance with the actor's conception of his author's presentation . An emotion is the result of self - love affected by an exterior ...
... sensation of the emotion of the dramatic character represented , but a likeness of the emo- tion in accordance with the actor's conception of his author's presentation . An emotion is the result of self - love affected by an exterior ...
الصفحة 34
... sensation or feeling of love or joy , or anger , or whatever emotion the author may be describing by his situations , may be cited two or three illustrations that are familiar to actors and are perhaps worth the consideration of the ...
... sensation or feeling of love or joy , or anger , or whatever emotion the author may be describing by his situations , may be cited two or three illustrations that are familiar to actors and are perhaps worth the consideration of the ...
الصفحة 40
... sensations of love and grief . Then , too , if the artiste really feels the joys and sorrows of Camille , it follows that in order to be consistent with this theory of acting , Mme B. should also experience the sensations which caused ...
... sensations of love and grief . Then , too , if the artiste really feels the joys and sorrows of Camille , it follows that in order to be consistent with this theory of acting , Mme B. should also experience the sensations which caused ...
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actor actress anger art of acting auditor Banquo begets called Camille character circumflex inflection compound question death direct rising double action dramatic art dramatic artist dramatic composition effect elementary sounds emotion eyes factor of expression falling inflection feeling gesture Ghost grief Hamlet head tone Horatio horror human illustration impassioned force impressional impressions Juliet Lady Macbeth laugh laughter lines matic median stress ment mental action Merchant of Venice Michael Cassio mind mode of utterance movement muscle muscular system natural language ness Othello outburst phrase physical play pose powerful factor present pression quality of voice Queen Mab re-present result Romeo Romeo and Juliet says scene seek self-love sensation Shakespeare's Shylock sion speak speaker speech strength stress of tremor subtonics suppressed force theatre Thespis thou thought tion tonic elements true truth Tubal ture Tybalt ural language vocal voice and brains words