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THE ART OF DRAMATIC AND LYRIC INTERPRETATION.

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80 DRAMATIC AND LYRIC INTERPRETATION
expressive movements of his body, legs, arms, and hands, more than by the movements of his face.
Each song or each play is a pantomime with words. Some of the words may replace a movement, but the spirit, the thought, remains to be expressed by the plastic attitude of the body.
We have had in our great tragedian Mounet-Sully a sublime incarnation of plastic art on the stage. His walk, his movements were a lesson for each student of dramatic art. He danced tragedy, as the Greek called their play­ing of tragedy.
To see him play (Edipus was a revelation of the plastic dance. Even though dressed in a long tunic, the plastic expression of his body, hidden under the costume, was plainly visible, perhaps not materially visible, but all the same visible to everybody.
It is, of course, understood that to give to your body elasticity and flexibility you will have to make preliminary gymnastics.
The following four illustrations represent a group of movements which are to be studied. On them depend the poise of limbs, the har­mony and stability of the body. (1 • 2 • 3 • 4)
The fifth illustration shows you an attitude








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