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. 55
... final consonant so it is more variable . The second syllable of ' households ' is unstressed but holds weight because of the length of the vowel and the quantity of the consonants ' lds ' which take time to speak . This gives the whole ...
... final consonant so it is more variable . The second syllable of ' households ' is unstressed but holds weight because of the length of the vowel and the quantity of the consonants ' lds ' which take time to speak . This gives the whole ...
Стр. 98
... final ' I ' makes it particularly long , and that a word without a final consonant can be as long or as short as you please . shoot chew caught store called ― heart hard - hoot hoof - hat has - ― put push - chase - - - chain back bag ...
... final ' I ' makes it particularly long , and that a word without a final consonant can be as long or as short as you please . shoot chew caught store called ― heart hard - hoot hoof - hat has - ― put push - chase - - - chain back bag ...
Стр. 208
... final point : it is always important that the beginning of a scene is started fractionally slower , so the audience can get in tune with your voice . Therefore you can use the phrase ' As I remem- ber , Adam . . . ' to draw in your ...
... final point : it is always important that the beginning of a scene is started fractionally slower , so the audience can get in tune with your voice . Therefore you can use the phrase ' As I remem- ber , Adam . . . ' to draw in your ...
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 |