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. 147
... particularly like these exercises which make arm movements and shapes for the vowels . The shapes can vary enormously ; go with your impulse , it makes the vowels spread physically through your body and makes you give them full value ...
... particularly like these exercises which make arm movements and shapes for the vowels . The shapes can vary enormously ; go with your impulse , it makes the vowels spread physically through your body and makes you give them full value ...
Стр. 208
... particularly vital for the facts to be understood . One 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 ...
... particularly vital for the facts to be understood . One 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 ...
Стр. 246
... particularly interesting to work on : ( 1 ) If the dull substance of my flesh were thought , Injurious distance should not stop my way ; For then despite of space I would be brought From limits far remote where thou dost stay : No ...
... particularly interesting to work on : ( 1 ) If the dull substance of my flesh were thought , Injurious distance should not stop my way ; For then despite of space I would be brought From limits far remote where thou dost stay : No ...
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 |