The Actor and the TextVirgin, 1992 - Всего страниц: 303 Cicely Berry, Voice Director of the Royal Shakespeare Company, is world-famous for her voice teaching. The Actor and the Text is her classic book, distilled from years of working with actors of the highest calibre. Building on the specific exercises covered in her first book, Voice and the Actor, Cicely Berry relates the practicality of voice production to the challenges of a different text. And by getting inside the words we use - whether those of Shakespeare or our contemporaries - she shows how to release their energy and excitement for an audience. |
Результаты поиска по книге
Результаты 1 – 3 из 27
Стр. 21
... active force , gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further point : if we are truly to make the words active , it asks for a commitment to the work beyond a ...
... active force , gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further point : if we are truly to make the words active , it asks for a commitment to the work beyond a ...
Стр. 30
... active . When working in a large space it takes longer for the consonant vibrations to reach out . The answer is never to push them out explosively , for that makes the speech clipped and not easy to hear , but always to feel the room ...
... active . When working in a large space it takes longer for the consonant vibrations to reach out . The answer is never to push them out explosively , for that makes the speech clipped and not easy to hear , but always to feel the room ...
Стр. 86
... active , in that it is measuring up the situation ; ' assassination ' has to be marked , for it is the first time Macbeth has put a name to the deed ; ' catch ' carries such immediacy , pointing up both the chance nature of an act and ...
... active , in that it is measuring up the situation ; ' assassination ' has to be marked , for it is the first time Macbeth has put a name to the deed ; ' catch ' carries such immediacy , pointing up both the chance nature of an act and ...
Содержание
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Авторские права | |
Не показаны другие разделы: 10
Другие издания - Просмотреть все
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 iambic pentameter 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 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 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 |