Modern Theatre Practice |
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Page 58
... kind of unity , the kind of uniting that a shoe should have . Unity in art objects , which are similar to shoes in that they too are made things , consists in the orderly arrangements of the parts . The kind of unity the art object will ...
... kind of unity , the kind of uniting that a shoe should have . Unity in art objects , which are similar to shoes in that they too are made things , consists in the orderly arrangements of the parts . The kind of unity the art object will ...
Page 60
... kind of unity in T. S. Eliot's Murder in the Cathedral and is important in all of his plays . In King Lear the three principles of unity are im- portant . The director in order to interpret a play must ask himself what kind of whole the ...
... kind of unity in T. S. Eliot's Murder in the Cathedral and is important in all of his plays . In King Lear the three principles of unity are im- portant . The director in order to interpret a play must ask himself what kind of whole the ...
Page 169
... kind of architectural or permanent set for The Skin of Our Teeth , 1942. Both Tennessee Williams and Arthur Miller have at- tempted to push out the restraining boundaries of realistic settings . In Death of a Salesman , 1949 , Miller ...
... kind of architectural or permanent set for The Skin of Our Teeth , 1942. Both Tennessee Williams and Arthur Miller have at- tempted to push out the restraining boundaries of realistic settings . In Death of a Salesman , 1949 , Miller ...
Contents
Theatre Arts | 3 |
Setting for The Caucasian Chalk Circle | 23 |
Analysis of Plays | 30 |
Copyright | |
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academic theatre acting area action actor arena staging arrangement artist audience autotransformer batten become Broadway theatre California State University canvas cast changes Chapter character characterization climax color comedy comic community theatres complete costume and makeup curtain cyclorama designer devices dialogue diction dimmer directing director discussion Doll's House door downstage drama dress rehearsals emotional employed entrance especially Figure flat floor footlights frame Fresnel lens Hamlet important inches individual instruments interpretation kind lamp lines means ment method modern Molière movement nature organization paint pantomimic dramatization pattern performance piece platform play playwright plot probability production proscenium question reading rehearsals realistic rehearsal period rendering require rhythm role scene scenery Section selection Shakespeare space arts speech spotlights stage lighting striplights style technical rehearsals techniques theatre arts thrust stage tion tragedy tryouts units upstage usually utilized visual wall whole York