The Actor and the TextHal Leonard Corporation, 1992 - Всего страниц: 303 (Applause Acting Series). These words of Cicely Berry, the voice director of the Royal Shakespeare Company, speak to anyone who needs to speak his or her piece in any arena, at sales meetings or religious revivals. Berry's book will insure that the speaker and the text gets heard accurately and with true emotional range. Never again will one be accused of simply "reading a prepared statement." Berry's exercises to develop relaxation, breathing and muscular control will literally help everyone breathe easier when confronting the printed page. |
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Стр. 9
... becomes too inward and controlled the words become dull ; if he presses too much energy out the words will be unfocused and the thought will be generalized . Either way the result is that the speaking of text or dialogue is too often ...
... becomes too inward and controlled the words become dull ; if he presses too much energy out the words will be unfocused and the thought will be generalized . Either way the result is that the speaking of text or dialogue is too often ...
Стр. 10
... become current . Therefore we must always be after the reaching out through words , and not a dulled , inward ... becomes even more complex when we are dealing with text . As we shall be talking a great deal about the image we have of ...
... become current . Therefore we must always be after the reaching out through words , and not a dulled , inward ... becomes even more complex when we are dealing with text . As we shall be talking a great deal about the image we have of ...
Стр. 11
... becomes ordinary at the moment of speaking . I think this is because we are tentative and do not know how far we can go , or because we do not know how to explore the language boldly enough without being unreal . I want , in this book ...
... becomes ordinary at the moment of speaking . I think this is because we are tentative and do not know how far we can go , or because we do not know how to explore the language boldly enough without being unreal . I want , in this book ...
Стр. 18
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Стр. 19
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Содержание
V | 16 |
VI | 17 |
VII | 26 |
VIII | 34 |
X | 53 |
XII | 54 |
XV | 84 |
XVII | 92 |
XXXVI | 180 |
XXXVII | 187 |
XXXVIII | 191 |
XL | 207 |
XLIII | 215 |
XLIV | 222 |
XLV | 231 |
XLVI | 242 |
XVIII | 97 |
XIX | 106 |
XX | 112 |
XXI | 117 |
XXII | 123 |
XXIII | 130 |
XXIV | 141 |
XXVI | 142 |
XXVIII | 145 |
XXXI | 150 |
XXXII | 159 |
XXXIII | 173 |
XLVII | 253 |
XLIX | 255 |
L | 256 |
LI | 257 |
LII | 262 |
LIV | 267 |
LV | 275 |
LVI | 276 |
LIX | 287 |
299 | |
LXI | 303 |
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Часто встречающиеся слова и выражения
actor antithesis Antony Antony and Cleopatra audience aware Barnardo become beginning breath Caesar caesura character consonants Coriolanus Cressida Delroy dialogue Dingo doth emotional energy exercises feel give Hamlet happens hath hear heightened Hermia Iago imagery important Julius Caesar Karn keep King Lear language Leontes listen look Love's Labour's Lost Macbeth meaning mememe metre mind Mogg move movement naturalistic night notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible prose reason rehearsal rhyme rhythm Richard Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress style syllables talking texture thee Theseus thing thou thought structure Troilus Troilus and Cressida verse voice vowels weight whole Winter's Tale words writing
Ссылки на эту книгу
Script Analysis for Actors, Directors, and Designers James Michael Thomas Ограниченный просмотр - 2005 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2007 |