Acting Without Agony: An Alternative to the MethodAllyn and Bacon, 1988 - 194 sider This practical, step-by-step guide is organized into 18 lessons for achieving outstanding performance in acting and directing. This text offers an alternative to the Stanislavsky "method" and teaches another way of arriving at emotions, which is described in detail throughout the text. MARKETS: Undergraduate and graduate courses in acting and directing. |
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Side xii
... important , an ability to learn lines quickly . There was only one week of rehearsal since the bill changed every week . Most children are natural - born actors or mimics . Whether this is merely childish facility or whether there is a ...
... important , an ability to learn lines quickly . There was only one week of rehearsal since the bill changed every week . Most children are natural - born actors or mimics . Whether this is merely childish facility or whether there is a ...
Side 116
... important thing that spoiled the scene . " " What's that ? " " You died too pretty . At the finish , you arranged your body to make a good camera shot ; it would remind the audience that you're an actor and not the robber . I warned you ...
... important thing that spoiled the scene . " " What's that ? " " You died too pretty . At the finish , you arranged your body to make a good camera shot ; it would remind the audience that you're an actor and not the robber . I warned you ...
Side 129
... important comedy principle : the joke is not the man throwing the pie , the joke is the face it lands on . For jokes to work , there must be reactions . So far I've been talking about the technique and timing of comedy , which are on ...
... important comedy principle : the joke is not the man throwing the pie , the joke is the face it lands on . For jokes to work , there must be reactions . So far I've been talking about the technique and timing of comedy , which are on ...
Indhold
What Is Acting? | 15 |
What Must I Think? | 25 |
Who Is My Character? | 35 |
Copyright | |
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acting actor actress Al Pacino ask the class audience bank robber basic joke beat behavior believe Bettmann Archive blackboard body brain called camera character character's Charles Jehlinger choose Colleen Dewhurst comedy Description-The mirror dialogue director drama Dustin Hoffman Elia Kazan enter fear feel film front funny girl hand Helen Hayes imaginary improvisation Jehlinger's Kazan lady laugh lawyer Lesson look Luther Adler Marlon Brando Method mind never objectives and emotions Odd Couple Olivier Oscar performance person play playwright practice rehearsal relax remember Ron Leibman Sam Levene scene script sense-memory Shakespeare Shirley Booth shooting shot someone sound-stage stage Stanislavsky stay Stella Adler story Strasberg Streetcar Named Desire style taught teach teacher tell the class theatre there's things thought tion truth Uta Hagen voice walk watching what's wife word young