Screen Acting: How to Succeed in Motion Pictures and TelevisionLone Eagle, 1987 - Počet stran: 377 |
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Strana 152
... POSITION , BROW POSITION , EYE MOVEMENT , JAW POSITION , MOUTH POSITION , ARM MOVEMENT , HAND AND FINGER MOVEMENT . HEAD : THOUGHT THE BODY CONVEYS TRUNK : FEELING LIMBS : ACTION 2. EARLY GREEK ARTS TRAINING Education of the whole ...
... POSITION , BROW POSITION , EYE MOVEMENT , JAW POSITION , MOUTH POSITION , ARM MOVEMENT , HAND AND FINGER MOVEMENT . HEAD : THOUGHT THE BODY CONVEYS TRUNK : FEELING LIMBS : ACTION 2. EARLY GREEK ARTS TRAINING Education of the whole ...
Strana 213
... positions . The full front and the one - quarter front position ( facing slightly to the left or right ) are called the open positions . The others are called the closed positions . FULL BACK : the actor stands with the back to the ...
... positions . The full front and the one - quarter front position ( facing slightly to the left or right ) are called the open positions . The others are called the closed positions . FULL BACK : the actor stands with the back to the ...
Strana 214
... - THE ACTOR'S BODY - POSITIONS — - 2 : FULL BACK POSITION 1 : FULL FRONT POSITION 3 : ONE - QUARTER FRONT POSITION 4 : PROFILE POSITION 5 : THREE - QUARTER BACK POSITION contemporary directors working smaller theatres . The six area plan.
... - THE ACTOR'S BODY - POSITIONS — - 2 : FULL BACK POSITION 1 : FULL FRONT POSITION 3 : ONE - QUARTER FRONT POSITION 4 : PROFILE POSITION 5 : THREE - QUARTER BACK POSITION contemporary directors working smaller theatres . The six area plan.
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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