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. 156
... excellent as it gets more air into the body ( you need it to oxygenate the blood ) , and the arm movements stop you being tense , or holding on to the breath - so you will use plenty of breath . When this feels right , cup your hands ...
... excellent as it gets more air into the body ( you need it to oxygenate the blood ) , and the arm movements stop you being tense , or holding on to the breath - so you will use plenty of breath . When this feels right , cup your hands ...
Стр. 199
... excellent for finding out where changes of thought occur , and what effect they have on the other characters , even those who are not speaking . In particular , how it feels not to be driving the thought perhaps this is the most ...
... excellent for finding out where changes of thought occur , and what effect they have on the other characters , even those who are not speaking . In particular , how it feels not to be driving the thought perhaps this is the most ...
Стр. 203
... excellent way of finding exactly where you are within the thought of the scene . And lastly , here are two exercises to do with style : specifically to help us find a way of feeling and presenting the language at the same time , so we ...
... excellent way of finding exactly where you are within the thought of the scene . And lastly , here are two exercises to do with style : specifically to help us find a way of feeling and presenting the language at the same time , so we ...
Содержание
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Авторские права | |
Не показаны другие разделы: 10
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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 |