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. 30
... difficult to catch , and so the language will become less 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 ...
... difficult to catch , and so the language will become less 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 ...
Стр. 111
... difficult play , and not all had read Shakespeare before . And , during the first two scenes , I asked those who were not reading to repeat all the words that were to do with the two kingdoms , Sicilia and Bohemia , and their courts ...
... difficult play , and not all had read Shakespeare before . And , during the first two scenes , I asked those who were not reading to repeat all the words that were to do with the two kingdoms , Sicilia and Bohemia , and their courts ...
Стр. 251
... difficult to learn . But oddly , because it is difficult to understand initially , once you have found the thought line through , the flow and rhythm takes care of itself . I think perhaps there are not so many possibilities . You have ...
... difficult to learn . But oddly , because it is difficult to understand initially , once you have found the thought line through , the flow and rhythm takes care of itself . I think perhaps there are not so many possibilities . You have ...
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 |