Freud and Stanislavsky: New Directions in the Performing ArtsVantage Press, 1964 - Počet stran: 128 |
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Strana 36
... everything " in " the part will assume its lifelike proportions under the sway of the character's single greatest need - the " intent . " If we assume a thorough and rigorous training in workshop and en concert , then the trained actor ...
... everything " in " the part will assume its lifelike proportions under the sway of the character's single greatest need - the " intent . " If we assume a thorough and rigorous training in workshop and en concert , then the trained actor ...
Strana 89
... everything , why we remember nothing , even the simplest things about ourselves and others - what it is , in short , that keeps us from behaving simply and evocatively and therefore believably on a stage . Why does so much of what you ...
... everything , why we remember nothing , even the simplest things about ourselves and others - what it is , in short , that keeps us from behaving simply and evocatively and therefore believably on a stage . Why does so much of what you ...
Strana 109
... everything at once or try to do everything at once . And always , always keep acting within the scene at hand . In the scene we talked about , for instance , one of the main determining factors was that Hamlet was in front of three ...
... everything at once or try to do everything at once . And always , always keep acting within the scene at hand . In the scene we talked about , for instance , one of the main determining factors was that Hamlet was in front of three ...
Obsah
Foreword by LAWRENCE J FRIEDMAN M D | 11 |
Introduction by GUY STOCKWELL | 15 |
Prologue | 19 |
Autorská práva | |
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