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. 5
... Sound and Meaning 1 Attitudes to voice 2 The practical means Chapter Two : Heightened versus Naturalistic Text 789 14 15 24 32 Part TWO : Shakespeare - Setting out the Rules Chapter Three : Metre and Rhythm 52 Chapter Four : Structures ...
... Sound and Meaning 1 Attitudes to voice 2 The practical means Chapter Two : Heightened versus Naturalistic Text 789 14 15 24 32 Part TWO : Shakespeare - Setting out the Rules Chapter Three : Metre and Rhythm 52 Chapter Four : Structures ...
Стр. 9
... sound we make , and about articulation and verbal clarity , but little on how we bring all this to bear on the specific speaking of text ; and so I want to bring the two together in a practical way . For it seems to me there is so often ...
... sound we make , and about articulation and verbal clarity , but little on how we bring all this to bear on the specific speaking of text ; and so I want to bring the two together in a practical way . For it seems to me there is so often ...
Стр. 11
... sound and the accuracy with which we hear it ( our ear ) , and this is also involved with our aesthetic pleasure in sound and consequent judgement of it ; c ) our individual physical make - up and agility , and our natural power ; and d ...
... sound and the accuracy with which we hear it ( our ear ) , and this is also involved with our aesthetic pleasure in sound and consequent judgement of it ; c ) our individual physical make - up and agility , and our natural power ; and d ...
Стр. 14
Cicely Berry. Chapter 1 SOUND AND MEANING In this chapter I want to focus on two things : 1 The attitudes we have to our own voice : how we think of our own sound , and how this affects our work as an actor . And then : 2 The practical ...
Cicely Berry. Chapter 1 SOUND AND MEANING In this chapter I want to focus on two things : 1 The attitudes we have to our own voice : how we think of our own sound , and how this affects our work as an actor . And then : 2 The practical ...
Стр. 15
... sound To a large extent I think we are trapped in our own sound and sound pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical make - up and personality , and the interactions ...
... sound To a large extent I think we are trapped in our own sound and sound pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical make - up and personality , and the interactions ...
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 |