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
... instance , you can linger and poise on a word that you had not specially noticed before ; also , how the end words of the line take on an extra meaning . This is an excellent bridge into finding the balance between speaking for sense ...
... instance , you can linger and poise on a word that you had not specially noticed before ; also , how the end words of the line take on an extra meaning . This is an excellent bridge into finding the balance between speaking for sense ...
Стр. 196
... instance if x wants a reaction from y , then only y does the activity , and x moves round trying to attract his attention . The activity may simply be sitting down at a table copying something from a book . It is often quite useful to ...
... instance if x wants a reaction from y , then only y does the activity , and x moves round trying to attract his attention . The activity may simply be sitting down at a table copying something from a book . It is often quite useful to ...
Стр. 246
... instance , if you are playing one of the lovers in The Dream , or Jessica or Lorenzo in The Merchant , then the sequence of Sonnets 43 to 47 would be good to look at , or Sonnet 118. Or for very much more complex characters , like for ...
... instance , if you are playing one of the lovers in The Dream , or Jessica or Lorenzo in The Merchant , then the sequence of Sonnets 43 to 47 would be good to look at , or Sonnet 118. Or for very much more complex characters , like for ...
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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 |