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
... writing from the publishers , except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine , newspaper or broadcast . Library of Congress Cataloging - in Publication Data Berry ...
... writing from the publishers , except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine , newspaper or broadcast . Library of Congress Cataloging - in Publication Data Berry ...
Стр. 9
... writing , the actor has to find the right energy for that particular text ; if his energy 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 ...
... writing , the actor has to find the right energy for that particular text ; if his energy 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 ...
Стр. 10
... writing , for this always feeds our 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 ...
... writing , for this always feeds our 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 ...
Стр. 11
... 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 are opened out , and the voice is ...
... 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 are opened out , and the voice is ...
Стр. 15
... writing asks for a different connection between the actor and his audience , a different style of speaking perhaps . — 1 ATTITUDES TO VOICE First , I want to look at the factors which hold us back from making the text as rich and alive ...
... writing asks for a different connection between the actor and his audience , a different style of speaking perhaps . — 1 ATTITUDES TO VOICE First , I want to look at the factors which hold us back from making the text as rich and alive ...
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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 |