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. 78
... soliloquy : and as such they have a quite specific function , for they carry us with a certain flourish into the next piece of action . They need care because they provide a formal ending to what may have been a free and naturalistic ...
... soliloquy : and as such they have a quite specific function , for they carry us with a certain flourish into the next piece of action . They need care because they provide a formal ending to what may have been a free and naturalistic ...
Стр. 131
... soliloquy on page 61 , which we have already analysed in terms of metre , you will notice : Her theme is in the ... soliloquy on page 118. This runs quite quickly : The initial statement runs right down to ' planetary influence ' seven ...
... soliloquy on page 61 , which we have already analysed in terms of metre , you will notice : Her theme is in the ... soliloquy on page 118. This runs quite quickly : The initial statement runs right down to ' planetary influence ' seven ...
Стр. 177
... soliloquy . Player King : III.2 . Claudius ' soliloquy in III.3 . — There is something very complete about Ophelia's speech , like a poem on its own . I think the language in Hamlet is very unpressured it is always lucid and articulate ...
... soliloquy . Player King : III.2 . Claudius ' soliloquy in III.3 . — There is something very complete about Ophelia's speech , like a poem on its own . I think the language in Hamlet is very unpressured it is always lucid and articulate ...
Содержание
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
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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 |