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. |
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Стр. 26
... breath and the thought as one . We need to be able to encompass one thought with one breath . In everyday life we do not run out of breath in the middle of an idea — or seldom — so , even though the lengths of thought in a text are ...
... breath and the thought as one . We need to be able to encompass one thought with one breath . In everyday life we do not run out of breath in the middle of an idea — or seldom — so , even though the lengths of thought in a text are ...
Стр. 274
... breath that makes us able to get pace , relaxation and unforced sound , and by which we can encompass a long thought and so illuminate the sense . The following are an extension of the ones given in Voice and the Actor , for , since ...
... breath that makes us able to get pace , relaxation and unforced sound , and by which we can encompass a long thought and so illuminate the sense . The following are an extension of the ones given in Voice and the Actor , for , since ...
Стр. 279
... breath - for control will come through thought . They are specifically for increasing the capacity of the ribs . matter ― If you find it difficult to last the counts to begin with it does not the fact that you need the breath will serve ...
... breath - for control will come through thought . They are specifically for increasing the capacity of the ribs . matter ― If you find it difficult to last the counts to begin with it does not the fact that you need the breath will serve ...
Содержание
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Авторские права | |
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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 |