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. 34
... verse drama , but it is always highly shaped and has its particular cadence . Eliot's verse moves in and out of colloquialisms . Then there is a huge amount of dramatic prose writing , from Restoration comedy to Shaw and Coward , which ...
... verse drama , but it is always highly shaped and has its particular cadence . Eliot's verse moves in and out of colloquialisms . Then there is a huge amount of dramatic prose writing , from Restoration comedy to Shaw and Coward , which ...
Стр. 81
... verse should sound . It is , quite crudely , a fascist approach . The second way is basically naturalistic , in that ... verse , and we have to be fully aware of the verse beat before we can appreciate the alternative music of the prose ...
... verse should sound . It is , quite crudely , a fascist approach . The second way is basically naturalistic , in that ... verse , and we have to be fully aware of the verse beat before we can appreciate the alternative music of the prose ...
Стр. 267
... verse each , or half a verse , but keeping it moving both rhythmi- cally and musically . Experiment with as much range as possible . Another great one to work on is his A Valediction : forbidding mourning , in which you get these three ...
... verse each , or half a verse , but keeping it moving both rhythmi- cally and musically . Experiment with as much range as possible . Another great one to work on is his A Valediction : forbidding mourning , in which you get these three ...
Содержание
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Авторские права | |
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Часто встречающиеся слова и выражения
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 |