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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... exercise . That is why it is important you feel free to adapt , though always go through it several times as set down before you vary it . The exercises have two purposes : ( 1 ) To make sure you are aware of all the possibilities of ...
... exercise . That is why it is important you feel free to adapt , though always go through it several times as set down before you vary it . The exercises have two purposes : ( 1 ) To make sure you are aware of all the possibilities of ...
Стр. 141
... exercises to work for you . Don't hurry them . It takes time for you to feel what the exercise is about , before you can begin to notice what is happening when you are doing it . I have talked a good deal about feeling the language ...
... exercises to work for you . Don't hurry them . It takes time for you to feel what the exercise is about , before you can begin to notice what is happening when you are doing it . I have talked a good deal about feeling the language ...
Стр. 142
... exercises will help acting groups as much as the actor working on his own . I will lay out the exercises in each section for the most part like this : Purpose of the exercise . Group work . Solo work . If you are working by yourself I ...
... exercises will help acting groups as much as the actor working on his own . I will lay out the exercises in each section for the most part like this : Purpose of the exercise . Group work . Solo work . If you are working by yourself I ...
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 |