The Actor and His TextHarrap, 1987 - Всего страниц: 285 This book sets out to apply the methods of voice production directly and practically to the speaking of text. Specifically, it addresses the problem of how to infuse life and meaning into words that are first encountered on the printed page. |
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Стр. 16
... aware of our own sound than we realize , and that sound is strongly bound to our emotional state , and to our self - esteem . Yet , because we hear the sound via the bone conduction in our own heads , and also because we hear it ...
... aware of our own sound than we realize , and that sound is strongly bound to our emotional state , and to our self - esteem . Yet , because we hear the sound via the bone conduction in our own heads , and also because we hear it ...
Стр. 21
... aware of projecting to an audience — obviously we speak louder so that they can hear — but in a subtle way we still keep the words at an energy level with which we are comfortable . In fact we increase the sound energy , the volume ...
... aware of projecting to an audience — obviously we speak louder so that they can hear — but in a subtle way we still keep the words at an energy level with which we are comfortable . In fact we increase the sound energy , the volume ...
Стр. 88
... aware of this life , the more the possibilities will open up . You will notice that when you read it for sense only it is the large emotive words that we tend to emphasize : but when you read it aware of this through energy , then each ...
... aware of this life , the more the possibilities will open up . You will notice that when you read it for sense only it is the large emotive words that we tend to emphasize : but when you read it aware of this through energy , then each ...
Содержание
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Авторские права | |
Не показаны другие разделы: 8
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actor antithesis Antony Antony and Cleopatra audience aware Barnardo beat become beginning breath caesura character consonants Coriolanus Delroy dialogue Dingo doth emotional energy exercises eyes feel give Hamlet happens hath hear heightened helps Hermia Iago iambic pentameter imagery images important Karn keep King King Lear language Lear Leontes listener look Love's Labour's Lost Macbeth meaning mememe metre Midsummer-Night's Dream mind Mogg move movement naturalistic night notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible precise reason rehearsal rhyme rhythm Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress syllables talking texture thee Theseus thing thou Troilus Troilus and Cressida verse voice vowels weight Winter's Tale words writing