Screen Acting: How to Succeed in Motion Pictures and TelevisionLone Eagle, 1987 - Počet stran: 377 |
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... performance techniques written with simplicity and dramatic clarity in mind ; it is a treasury of information on what to do and how to do it . Its chief aim is to bring to the beginner , to the teacher of drama as well as to the ...
... performance techniques written with simplicity and dramatic clarity in mind ; it is a treasury of information on what to do and how to do it . Its chief aim is to bring to the beginner , to the teacher of drama as well as to the ...
Strana 160
... performance and it becomes concentrated energy , effective energy , instead of dissipated and destructive energy . 19. WHAT REASON IS THERE TO BE NERVOUS ? Why actors should become paralyzed with fear prior to performance is not an easy ...
... performance and it becomes concentrated energy , effective energy , instead of dissipated and destructive energy . 19. WHAT REASON IS THERE TO BE NERVOUS ? Why actors should become paralyzed with fear prior to performance is not an easy ...
Strana 297
... performance interesting and ' alive ' unless it is supported by an actor's performance sincerity and belief in the imaginary circumstances taking place . An actor is said to be ' performance sincere ' when there is truthful rendering of ...
... performance interesting and ' alive ' unless it is supported by an actor's performance sincerity and belief in the imaginary circumstances taking place . An actor is said to be ' performance sincere ' when there is truthful rendering of ...
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ability achieve acting actor needs actress agent Alan Ladd angle attention attitudes audience become body Bogart Brando breathing Brian Adams bring camera career Cary Grant casting directors character's client close-up comedy confidence conscious consonants Constantin Stanislavski create creative desire develop dialogue drama dress emotions energy expression eyes fear film gesture give goals Grundy Television he/she his/her Hollywood human Humphrey Bogart IDEAS TO REVIEW impression instrument interview John Gielgud Kirk Douglas Laurence Olivier lines listen look Marlon Brando meaning mental motion picture motivated move movement objectives pause performance personality Peter Sellers physical players playing position posture presentation producer projection pronunciation relaxed requires rhythm role scene screen actor screenplay script shot SLADE sound speak stage character Stanislavski stardom story success SUMMARY OF IDEAS talent technique television theatre things tone Torvill and Dean understanding Vincent Price vocal vowel words writer