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. 24
... simply an awareness that the words are them- selves a movement and this is quite subtle . It would seem more appropriate to express large emotions through dance and song than through the words and inflections that we use every day , so ...
... simply an awareness that the words are them- selves a movement and this is quite subtle . It would seem more appropriate to express large emotions through dance and song than through the words and inflections that we use every day , so ...
Стр. 164
... simply by moving in between . Maybe they get together triumphantly at the end- just see how it works . While you do this , keep repeating one of the sets of words , whichever you choose . This is a very useful series of exercises . I ...
... simply by moving in between . Maybe they get together triumphantly at the end- just see how it works . While you do this , keep repeating one of the sets of words , whichever you choose . This is a very useful series of exercises . I ...
Стр. 195
... simply make you start acting , and any discovery through words would be blocked ! What you do in the exercise , however , may of course finally influence the blocking , and you may discover more precise- ly where you want to be in ...
... simply make you start acting , and any discovery through words would be blocked ! What you do in the exercise , however , may of course finally influence the blocking , and you may discover more precise- ly where you want to be in ...
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 |