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THE ART OF ACTING
COMMUNICATION AND RESPONSE
TRAINING FOR EXPRESSIVENESS THE BODY
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acting action actor arms artist attention audience backbone breath chair chaise longue character clearly climaxes Cloey's consonants Constantin Stanislavsky contrast counts director dramatic effective emotion Eustasia exer exercise experience expressive eyes face feel feet fingers foot force forward front gesture goes gracie hall door hand head Hecuba I. A. Richards imagination J. O. Bailey Joseph keep larynx Leaves of Grass legs lift lilly lips look manifestations MANNER OF ARTICULATION ment mind Miss Cloey motsinger move movement muscles never Nicholas normal objects observed pantomimic pause performance person physical play player PLAYER'S HANDBOOK position posture re-creation reaction rhythm rhythmic scene sense Sensory Memory shoulders soft palate sounds speaks spectator speech stage stands story theatre things thought tion tone tongue torso turn vocal voice voice-tones vowels walk wall Walt Whitman whole words