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
... physical response which we have to words which touch our inner thoughts and feelings , where the association of the word itself can evoke a response separate from the feeling . - For instance , if there is something in our life about ...
... physical response which we have to words which touch our inner thoughts and feelings , where the association of the word itself can evoke a response separate from the feeling . - For instance , if there is something in our life about ...
Стр. 22
... physical nature of the words and images , and are more deeply moved by them , than do the more sophisticated and highly educated ' A ' Level students . They get closer to the sense that a character can be possessed by the words , and as ...
... physical nature of the words and images , and are more deeply moved by them , than do the more sophisticated and highly educated ' A ' Level students . They get closer to the sense that a character can be possessed by the words , and as ...
Стр. 165
... physical obstacle will release the physical urge within the words . In this passage you will have felt it on ' lingers my desires ' and ' Stir up the Athenian youth ' , etc .; what is important is that it allows the words to be both ...
... physical obstacle will release the physical urge within the words . In this passage you will have felt it on ' lingers my desires ' and ' Stir up the Athenian youth ' , etc .; what is important is that it allows the words to be both ...
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 |