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. 20
... feel a sense of relief , but not only that , I think we feel physically different ; there is almost a chemical change , and we say we have ' got something off our chest ' . The point being that the words have been the instrument of ...
... feel a sense of relief , but not only that , I think we feel physically different ; there is almost a chemical change , and we say we have ' got something off our chest ' . The point being that the words have been the instrument of ...
Стр. 190
... Feel the vibrations in the chest and back , and notice how the feel of the words changes . ( ii ) Set up an activity . This will depend on the room you have available , but here are suggestions : If you have some shelves of books in ...
... Feel the vibrations in the chest and back , and notice how the feel of the words changes . ( ii ) Set up an activity . This will depend on the room you have available , but here are suggestions : If you have some shelves of books in ...
Стр. 276
... feel that it is the easier way and that it gives you the freedom and strength you want , you will use it naturally . 1 On the floor THE EXERCISES Lie on the floor and feel your back as much in touch with the floor as possible . First ...
... feel that it is the easier way and that it gives you the freedom and strength you want , you will use it naturally . 1 On the floor THE EXERCISES Lie on the floor and feel your back as much in touch with the floor as possible . First ...
Содержание
by Trevor Nunn 789 | 9 |
Heightened versus Naturalistic Text | 32 |
Shakespeare Setting out the Rules | 52 |
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 particularly passage patterns perhaps person phrase physical piece of text play poetic possible reason 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 thought structure 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 |