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. 18
... important than the thought , instead of being the thought in action . So the actor remains just behind the words — a metaphorical half inch — and not quite on them . This is not a big problem , but a very common one . And what is ...
... important than the thought , instead of being the thought in action . So the actor remains just behind the words — a metaphorical half inch — and not quite on them . This is not a big problem , but a very common one . And what is ...
Стр. 148
... important to place the verbal energy precisely on the lips and tongue , so that it becomes the physical movement of the thought - the thought in action . - If you have room and privacy work on ( ii ) . It is perhaps not easy to do it on ...
... important to place the verbal energy precisely on the lips and tongue , so that it becomes the physical movement of the thought - the thought in action . - If you have room and privacy work on ( ii ) . It is perhaps not easy to do it on ...
Стр. 240
... important in all of them . But that sense of shaping does not generalize ; it rather throws up the particular nature ... important to say . ― I say all this because I think it is important to be clear as to how and why we are ...
... important in all of them . But that sense of shaping does not generalize ; it rather throws up the particular nature ... important to say . ― I say all this because I think it is important to be clear as to how and why we are ...
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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Часто встречающиеся слова и выражения
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 |