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. 27
... example , for you would not be contemplating those lines unless you were preparing them as an actor , but it is often easier to understand a point through a difficult example , as the need is more apparent and you can see the principal ...
... example , for you would not be contemplating those lines unless you were preparing them as an actor , but it is often easier to understand a point through a difficult example , as the need is more apparent and you can see the principal ...
Стр. 73
... examples are in rhyme , which leads us to just that point . 2b : Rhyme . There is nothing difficult about this : we simply have to be alert to it and use it , we have to allow it its artificiality . I think perhaps the important thing ...
... examples are in rhyme , which leads us to just that point . 2b : Rhyme . There is nothing difficult about this : we simply have to be alert to it and use it , we have to allow it its artificiality . I think perhaps the important thing ...
Стр. 90
... example to example , yet the advantage is that we begin to feel the elements in our bones and begin to be aware of the permutations within the line , so that in the end we do not have to work at them . But it would be a good thing to ...
... example to example , yet the advantage is that we begin to feel the elements in our bones and begin to be aware of the permutations within the line , so that in the end we do not have to work at them . But it would be a good thing to ...
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 |