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. 4
... Exercises . I. Title . II . Series PN2061.B434 792'.028 - dc20 1992 Applause Theatre & Cinema Books 19 West 21ST Street , Suite 201 New York , NY 10010 Phone : ( 212 ) 575-9265 Fax : ( 212 ) 575-9270 Email : info@applausepub.com ...
... Exercises . I. Title . II . Series PN2061.B434 792'.028 - dc20 1992 Applause Theatre & Cinema Books 19 West 21ST Street , Suite 201 New York , NY 10010 Phone : ( 212 ) 575-9265 Fax : ( 212 ) 575-9270 Email : info@applausepub.com ...
Стр. 5
... Five : Introduction to the Exercises Chapter Six : Substance of the Text 1 Sounds : vowels and consonants 2 Hearing the language : substance of text 3 Language fabric 140 143 143 148 157 Chapter Seven : Metre and Energy 1 Metre 171 171.
... Five : Introduction to the Exercises Chapter Six : Substance of the Text 1 Sounds : vowels and consonants 2 Hearing the language : substance of text 3 Language fabric 140 143 143 148 157 Chapter Seven : Metre and Energy 1 Metre 171 171.
Стр. 6
... 260 2 Using poetry 265 3 Cadence and note 273 Chapter Twelve : Further Voice Exercises 274 Further Perspectives 285 Index of Quotations Quotes by Subject 297 301 Foreword This book will be used by actors and directors.
... 260 2 Using poetry 265 3 Cadence and note 273 Chapter Twelve : Further Voice Exercises 274 Further Perspectives 285 Index of Quotations Quotes by Subject 297 301 Foreword This book will be used by actors and directors.
Стр. 11
... exercises given there , for since writing it I have developed the work and I think the emphasis has slightly changed . But my starting - point here will be that exercises are already part of the actor's work , that range and flexibility ...
... exercises given there , for since writing it I have developed the work and I think the emphasis has slightly changed . But my starting - point here will be that exercises are already part of the actor's work , that range and flexibility ...
Стр. 14
... exercises : that is to say I want to clarify the aims of the voice work we do , so that it gives maximum support to the words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and ...
... exercises : that is to say I want to clarify the aims of the voice work we do , so that it gives maximum support to the words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and ...
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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 |