More Power to YouApplause, 2002 - Počet stran: 185 More Power to You is acting guru Robert Cohen's follow-up act to his now legendary Acting Power. Now, More Power to You brings together Cohen's most important writing on performance, plays and productions. Among the diverse subjects the reader will learn about are, that Shakespeare's actors cried real tears (and had their methods on how to make the tears flow); that Hamlet was sixteen; what that secret is that British actors have for running off with all the American stage awards, and why kidnapped heiress Patty Hearst robbed that bank (and what that has to do with a book on theatre!). |
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Strana 10
... role ” of King Henry at the Boar's Head , employs a biochemical stimulus to give the proper dimension to his performance : “ Give me a cup of sack to make my eyes look red , that it may be thought I have wept , for I must speak in ...
... role ” of King Henry at the Boar's Head , employs a biochemical stimulus to give the proper dimension to his performance : “ Give me a cup of sack to make my eyes look red , that it may be thought I have wept , for I must speak in ...
Strana 32
... role in all spoken communications . Willem J.M. Levelt writes , for example , " Intonation is ... an expressive device . Pitch accent expresses the promi- nence of a concept , the interest adduced to it by the speaker , or its ...
... role in all spoken communications . Willem J.M. Levelt writes , for example , " Intonation is ... an expressive device . Pitch accent expresses the promi- nence of a concept , the interest adduced to it by the speaker , or its ...
Strana 55
... role is particularly crucial in documentary drama , because the actors are asked to " play " characters who are too close for comfort— characters with whom they could , in most cases , easily be confused . Moreover , they are not ...
... role is particularly crucial in documentary drama , because the actors are asked to " play " characters who are too close for comfort— characters with whom they could , in most cases , easily be confused . Moreover , they are not ...
Obsah
Introduction | 2 |
CHAPTER | 11 |
Putting a Tree in a | 65 |
Autorská práva | |
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acting action actor affliction American answer Beckett become Bourgeois Gentleman character character's Claudius CLOWN cognitive dissonance conversation course create Creon dialogue doctor documentary drama dramatic dramaturgical edition emotional English essay Estragon eyes feelings Folio followspot French Ghost Glengarry Glen Ross golden opinions Hamlet hate human Ibid identity indicates inflections Jerzy King King Lear Laertes Lafeu Lear literary Macbeth medieval Miss Hearst modern Molière momentum Oedipus Ophelia original Othello passion performance perhaps person play play's Player playwright Polonius Pozzo Priam problem production punctuation Pyramus Pyrrhus Quarto question rehearsal Richard Burbage role says scene sentence sexton Shakespeare Simone Weil simply sixteen soliloquy Sophocles speak speech spelling stage Stanislavsky structure suggested sword syntax tears theatre theatrical theory therapist thing thou tion Tiresias translation tree upward inflection Vladimir voice Waiting for Godot weep Weil's Wheel theory words Yorick's York