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. 33
... speech and speech patterns , and so has class overtones , and this is therefore alienating to anyone who has regional differences of speech , or whose background is working - class . It can feel a serious betrayal of one's background to ...
... speech and speech patterns , and so has class overtones , and this is therefore alienating to anyone who has regional differences of speech , or whose background is working - class . It can feel a serious betrayal of one's background to ...
Стр. 49
... speech through electronic means and lack enough physical experience of speech . All this is perhaps extreme , and what has it to do with acting ? I think it makes for a climate where text which is verbally explicit is not so believable ...
... speech through electronic means and lack enough physical experience of speech . All this is perhaps extreme , and what has it to do with acting ? I think it makes for a climate where text which is verbally explicit is not so believable ...
Стр. 229
... SPEECH STRUCTURES All that we have talked about and looked at so far has been to do with just this : the structure within a speech or sequence of speeches . And we have found that this structure depends on : ( i ) How the metre is ...
... SPEECH STRUCTURES All that we have talked about and looked at so far has been to do with just this : the structure within a speech or sequence of speeches . And we have found that this structure depends on : ( i ) How the metre is ...
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 |