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. 187
... space , but it is good in that the movement of the speech shifts with the different relative spaces and with a certain sense of conspiracy which comes from the exercise . ( v ) Each member of the group lies full - length on the floor ...
... space , but it is good in that the movement of the speech shifts with the different relative spaces and with a certain sense of conspiracy which comes from the exercise . ( v ) Each member of the group lies full - length on the floor ...
Стр. 195
... space links with the need to reach into the other character , and so you lift the words more . ( iv ) This next exercise is to do with setting up occupations . These activities must arise either out of the space you are in , and using ...
... space links with the need to reach into the other character , and so you lift the words more . ( iv ) This next exercise is to do with setting up occupations . These activities must arise either out of the space you are in , and using ...
Стр. 260
... spaces . 1 FINDING THE SPACE Every place you go into has a different acoustic , therefore you have to be prepared to make adjustments quite objectively , which is in fact good because it keeps you vocally on your toes as it were , and ...
... spaces . 1 FINDING THE SPACE Every place you go into has a different acoustic , therefore you have to be prepared to make adjustments quite objectively , which is in fact good because it keeps you vocally on your toes as it were , and ...
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 |