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. 7
... responses to language— ancient and modern , heightened and prosaic - her missionary zeal , her reciprocal requirement for seriousness and dedication . But , gentle reader , try as you work through these chapters to hear her shrieks of ...
... responses to language— ancient and modern , heightened and prosaic - her missionary zeal , her reciprocal requirement for seriousness and dedication . But , gentle reader , try as you work through these chapters to hear her shrieks of ...
Стр. 10
... response to Shakespeare , and vice versa . We are always lucky when we have an opportunity to work on both , for it is the interchange between modern and classical writing that enriches both and makes each more alive . Work on ...
... response to Shakespeare , and vice versa . We are always lucky when we have an opportunity to work on both , for it is the interchange between modern and classical writing that enriches both and makes each more alive . Work on ...
Стр. 11
... response to an audience . It is about how to use the freedom we get in exercises when we are being real in speech . It is about making the language organic , so that the words act as the spur to the sound , and so that flexibility and ...
... response to an audience . It is about how to use the freedom we get in exercises when we are being real in speech . It is about making the language organic , so that the words act as the spur to the sound , and so that flexibility and ...
Стр. 17
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Стр. 18
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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 |