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12 Sentences With "stiltedness"

How to use stiltedness in a sentence? Find typical usage patterns (collocations)/phrases/context for "stiltedness" and check conjugation/comparative form for "stiltedness". Mastering all the usages of "stiltedness" from sentence examples published by news publications.

Despite the stiltedness of some of the dialogue, the scene has genuine emotional power.
They're fake and robotic, beginning and ending with a stiltedness that never accompanies real human laughter.
What's spooky about it goes beyond Melania's personal uncanniness or Trump's world-historic tastelessness or the built-in stiltedness of White House ritual.
I'd like to think the stiltedness of the entire episode was somehow meant to echo the artificiality of multiple layers of players being played.
Her tone isn't soft — there's flint in there — but it's smooth and flexible, and she handles it with a cool control that never tilts into chilliness or stiltedness.
While the typical Merchant-Ivory film practices emotional restraint to the point of feeling of staid, Quartet uses this emotional stiltedness to surprisingly powerful effect in Smith's character.
To the extent he has a reputation as a political candidate, Steyer's is as a creature of the 30-second ad, with all the stiltedness that comes with it.
On a purely technical level, Trump also performed well, sticking mostly to the prepared script that rolled across his teleprompter but avoiding the stiltedness that has afflicted some of his prepared addresses in the past.
"His was the publication in which literary qualities were being methodically repressed, destroyed, or applied to serve specific interests which had nothing to do with literature," he later insisted.The Works of N.S. Leskov in 11 volumes. Khudozhestvennaya Literatura Publishers. Moscow. 1956–1958. Vol 10, P. 433 Some of his colleagues (Dostoevsky among them) criticized the novel from the technical point of view, speaking of the stiltedness of the "adventure" plot and the improbability of some of its characters.
" Joe Caramanica of The New York Times wrote, "Even though the melodrama, highly structured scripting and stilted camera shots are indebted to the telenovela form, Hollywood Heights owes the most to the rat-tat-tat rhythms of Gilmore Girls." Of James Franco's performance Caramanica wrote, "Mr. Franco chews more than his share of scenery, which turns out to be a necessary strategy. In an environment like this, in which all the performances have soft edges, and no one is steering the scenes too aggressively, acting out is the only sort of acting that gets noticed. His frazzled energy isn’t realistic but is instead fantastical and a running commentary on the stiltedness of the rest of the proceedings.
Somehow all its weaknesses disappear, the author's personality vanishes, and all the things 'underwritten' and only sketched get a new life on stage... In through those holes left by the author unfilled, the actors bring in each something of their own." The critic described the production as the great victory of the Second Studio over "this stiltedness that has become common for all children's parts in theatre... The major secret of the [actual] Green Ring, according to the author, is the 'joy of togetherness', and that is exactly what the secret of this whole production turned out to be," the critic asserted. Georgy Chulkov, writing in 1922, praised the play (which he called 'bizarre') as highly exiting and original, "defying aesthetic characterizations." He found the charm of the play in its "overwhelming sense of direction," with "the author's soul engaged in a flight.
Tom Ewing of Pitchfork refers to the lyrics as "awkward" and "conversational". He says that as non-native speakers, they rarely used metaphors or poetic imagery, and instead relied on a "matter-of-fact reportage of feeling", resulting in a "slight stiltedness" which, he argues "is what makes ABBA great lyricists". He says that this style of lyric writing, coupled with the female leads' "occasional...halting pronunciation... could make them sound devastatingly direct and vulnerable", as shown in The Day Before You Came. Tony Hawks, in his work One Hit Wonderland, cites The Day Before You Came when commenting that despite the ABBA lyricists' genius, "there were occasions when [Benny and Bjorn] clearly had difficulty coming up with lines which provided the requisite number of syllables to complete a line", thereby causing the girls to sing things that no native English speaker would ever actually say.

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