The Art of ActingF. F. Mackay, 1913 - 295 من الصفحات |
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الصفحة 20
... sometimes unjustly criticized through the ignorance and prejudice of those who judge without comparison and pronounce without thought , so too is unstinted approbation often bestowed upon the merest pretense to art ; and the readiness ...
... sometimes unjustly criticized through the ignorance and prejudice of those who judge without comparison and pronounce without thought , so too is unstinted approbation often bestowed upon the merest pretense to art ; and the readiness ...
الصفحة 23
... sometimes be considered and judged apart from the framework - situa- tions made by the author . If criticisms were more frequently the result of reason and not the outburst of an impulse - then the patrons of the theatre would be ...
... sometimes be considered and judged apart from the framework - situa- tions made by the author . If criticisms were more frequently the result of reason and not the outburst of an impulse - then the patrons of the theatre would be ...
الصفحة 78
... factors at cer- tain given intervals of time , are not always the signs of ignorance in the art of acting . They are sometimes the result of an insuppressible de- sire in the ego of the artist that delights in 78 The Art of Acting.
... factors at cer- tain given intervals of time , are not always the signs of ignorance in the art of acting . They are sometimes the result of an insuppressible de- sire in the ego of the artist that delights in 78 The Art of Acting.
الصفحة 80
... sometimes overwhelming the judgment . The mind loses its power of comparison and the auditor often re- sponds in an uncontrolled outburst of feeling in harmony with the speaker . This crescendo and diminuendo form of force being musical ...
... sometimes overwhelming the judgment . The mind loses its power of comparison and the auditor often re- sponds in an uncontrolled outburst of feeling in harmony with the speaker . This crescendo and diminuendo form of force being musical ...
الصفحة 81
... sometimes thrown into spasms , and physically prostrated by its power . These factors in expression should have no place in didactic matter where the appeal is to mental equilibrium only . Every word in a dramatic composition is the ...
... sometimes thrown into spasms , and physically prostrated by its power . These factors in expression should have no place in didactic matter where the appeal is to mental equilibrium only . Every word in a dramatic composition is the ...
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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