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. 150
... round . Make sure it is a pure whisper , and no voiced sound comes in some people find this difficult . Again , because you have taken away the element of voice which is trying to make good sense , and ' behave ' properly , you will be ...
... round . Make sure it is a pure whisper , and no voiced sound comes in some people find this difficult . Again , because you have taken away the element of voice which is trying to make good sense , and ' behave ' properly , you will be ...
Стр. 163
... round the room , the others being drawn behind : This time the group should repeat all the words to do with drawing or pulling , anything to do with an outside force you will find plenty . As you move round you will feel how the ...
... round the room , the others being drawn behind : This time the group should repeat all the words to do with drawing or pulling , anything to do with an outside force you will find plenty . As you move round you will feel how the ...
Стр. 290
... round to read the first scene , and a few pages of the second scene down to Leontes ' first soliloquy . We read it once round in a circle as best we could , some more ably than others — it took a little time to build up confidence . We ...
... round to read the first scene , and a few pages of the second scene down to Leontes ' first soliloquy . We read it once round in a circle as best we could , some more ably than others — it took a little time to build up confidence . We ...
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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 |