Acting Skills for Life: Third EditionDundurn, 1999/09/01 - 380 ページ Of all the subjects taught in the school system, dramatic arts probably has the greatest potential to help students prepare for life. The study of acting helps students develop personal and social skills: increased poise and confidence, better awareness of their physical and vocal selves, and an improved ability to think and react quickly. These talents can help in dealing with sometimes difficult real life situations. The intention of Acting Skills for Life is to integrate personal growth and the process of creative drama with the more formal skills required for stage production. This is a very practical book, full of suggestions for drama exercises and improvisations, developed over Cameron's thirty years of teaching drama, and includes helpful information for teachers working with students on stage productions. |
この書籍内から
検索結果1-5 / 6
... soft palate ( the palate is the roof of the mouth ) . Clarity and crispness of speech depend on precision of articulation . Skills can be developed by exercises that strengthen the contact points used in forming consonants . Variations ...
... soft palate . ( The palate is the roof of the mouth . The hard palate is the forward two - thirds of the mouth and is divided from the nasal cavity by bone . The soft palate is the soft tissue at the rear third and ends in the uvula ...
... palate ( soft ) mouth and tongue tip for articulation tongue larynx uvula pharynx • Others ( like s ) are continuants . • Fricatives are sounds created by forcing the breath through a narrow space , as when forming an f . • Sibilants ...
... soft palate is connecting with the tongue , thus preventing the sound from entering the mouth . The sound has no option but to go up into the nasal cavity , where it reverberates in turn within the sinuses above the nasal cavity . Do ...
... soft palate is being lazy and remaining dropped . The problem can be helped by learning to open the mouth wider as you speak . This action raises the soft palate , thus permitting the sound to exit through the mouth . You cannot sustain ...
目次
11 | |
25 | |
33 | |
43 | |
71 | |
99 | |
Voice and Text | 119 |
Working with the Five Senses | 145 |
External Approaches to Characterization | 271 |
Psychology and Acting | 287 |
Stimulating New Ideas in Acting | 317 |
Stage Fighting | 333 |
Comedy and Style | 343 |
Todays Influences on Acting | 361 |
Approaching Shakespeare | 377 |
Shakespeare and the Actor | 405 |
The Beginning Ssteps of Acting | 169 |
Acting and Physicality | 185 |
Dramatic Structure and Stage Blocking | 209 |
Getting Into Character | 237 |
Internal Approaches to Characterization | 257 |
How to Help the Actor with Problems in Acting | 427 |
Advice for the Novice Director | 443 |
Advice for Further Studies | 463 |
Bibliography | 475 |