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Aclors acquirement actor actress appear art of acting artist audience become body breathing career carrying-power casting to type character chest Cibber Colley Cibber commencing consonants criticism David Garrick defects develop diction Edmund Kean effect Elizabethan era Ellen Terry elocution Emil-Behnke emotion endeavour enunciation experience expression face facial fact fault feel flexibility frequently G. H. Lewes genius gesture Granville Barker habits hear Hermann Vezin Hubert von Herkomer impossible inaudible inflections instrument John Philip Kemble Kemble lack laryngeal London matter ment modern monotony mouth movement muscles nasal resonance natural never performance person physical medium pitch play practice producer pronunciation proportion realized rehearsal remarkable rendered result rhythm Sarah Bernhardt Shakespeare Shakespearian singer singing sound speaker speaking verse speaking voice speech spontaneity stage student success tears technique thing throat tion to-day tonal tone tongue usually Vezin vocal vocal ligaments voice-production voice-training vowels word